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works, and the pictures sent by Messrs. what would be produced by a lamp than the human figures, and to the work of human Poynter, Hodgson, Marks, Leslie, and Boughton dawn or the afterglow. Both it and the hands, gives just that touch of poetry to Mr. are worthy of them; but what seem to me, for colouring, sweet and strange, are, no doubt, Brett's work for want of which it often fails one reason or another, to be the most notable partly aesthetic, partly symbolical, and have to reach our sympathy. It is possible that in achievements by painters of the Academy are been planned with care equal to that bestowed the first view of the Academy some works those of the President and Messrs. Hook, Or- upon the design; but they are not natural, are equally notable as these may have escaped chardson, Ouless, Brett, and E. J. Gregory, not even what, surely, the most “ideal” design attention, but the pictures I have mentioned

The last-mentioned sends but one work, and should be suggestive of nature. A pamphlet seem to me at present to be those which, for it is remarkable not at all on account of has been published by the Fine Art Society, some quality or another, are so distinguished its size, - nor even of its subjeet, though intended, apparently, to herald the advent of a that they will be always memorable. Many that is a pretty one. It is called “The photogravure of this picture. If it is not pictures of great merit I have undoubtedly Intruders" (178), and shows us the furry of written in the best taste and best English, passed by for the present, many able works by some swans who find one of their favourite it is at least illustrated in the best possible well-known hands, many promising works of haunts occupied by a house-boat and peopled way, It contains facsimiles from the beautiful new ones; and the achievements of foreign by pretty young ladies in coloured muslin. chalk studies, and wood-engravings of the artists, which form a great attraction, I have Its design and sentiment are charming, real little figures which the artist made for his intentionally postponed for future notice. enough but idyllic, the poetry found not in- composition. It raises regret that so much Subjecting the sculpture to the same test, I vented, but still there, and its dexterous loving care and rare skill should have had such find that among English artists two works stand handling, brilliant sunshine, and gay effective imperfeet fruition. The only consolation is out prominently as "things of beauty." One colour make it one of the most notable works that the picture will probably gain more than of these is Mr. Alfred Gilbert's “ Icarus" (1855) of the year. The portraits of Mr. Ouless are it loses by translation or retranslation into the other Mr. Hamo Thornycroft's “Mower remarkable for their colour, as well as for black and white. Another work showing very (1856). The latter, in purely English work, is their character and refinement. That which considerable imaginative power, though of a the nearest approach to “Millet in marble combines these qualities most perfectly is, different order, is Mr. Waterhouse's “Consult- that I have seen. Millet often reached the statuperhaps, his admirable likeness of his brother ing the Oracle" (559). In a low-lighted esque, Mr. Thomycroft here reaches humanity. Academician, “Mr. J. E. Hodgson" (244), Oriental chamber a number of women are Starting from different points, they have come which deserves the epithet “masterly” in the seated in a semi-circle waiting, with well-varied near to one another, the one finding in art the fullest sense. Full of character and life expressions of awe and expectation, the message means of expressing his profound sentiment for and artistic beauties also are his heads of of the diviner, who, with a face charged with the honour of labour, the other in a labourer the “Mr. Bancroft” (190) and “Mr. Henry a “fine frenzy,” is standing with her ear material for the expression of a fresh artistic aimn. Whiting” (490). Mr. Orchardson's “Mariage applied to the hideous mummied head or And this statue is another proof of the rade de Convenance” (341), a lamplight scene, in Teraph. The contrast between the two heads width of Mr. Thornycroft's artistic sympathy, a large and luxurious dining-room, tells its is a thrilling one, and the gesture of the He has given us a Diana and a Teucar fine in story plainly—somewhat over-plainly perhaps. diviner is as fine as her face. Mr. Waterhouse style, but full of life. But that the essentials The distance which separates the ill-mated has always been remarkable for the originality of art are always the same, no mode could be couple is very obviously figured in the long table and effectiveness of his design, but this revelation more different from the mode of these than that at the opposite ends of which they are seated. of emotional imagination is surprising. The of his statuette of Lord Beaconsfield. It is a The pomp for which she has sold herself, the colour leaves much to be desired; it is rich and change from nature to custom, from the enimajestic beauty which he has purchased (soul varied, but uncontrolled; and there is a want of bodiment of beauty and strength to the incarincluded), are set before us in no doubtful space and air, due mainly, perhaps, to the heavy nation of politeness, elderly and astute. And manner. But the power of the design is colour of the trellised wood-work which oloses now he gives us a rustic (braceless, but by 13 excelled by the brilliance of the painting the farther side of the room. Far better in means bootless), and makes artistic capital ou Luminous all Mr. Orchardson's work these respects is Mr. Seymour Lucas' “ After of a yokel's slouch and uncompromising highis, it is doubtful whether he has ever pro- Culloden : Rebel-hunting" (881), the only satis- lows; but he keeps his style, and uses it to duced anything so luminous as this, or a har- factory purchase for the Chantrey bequest, if express the labour-moulded grace of an inmony so rich. It is also doubtful whether so indeed it be not, as I think it is, the finest couth hind, the monumental dignity of wlarge a roon would be so perfectly illuminated picture of the year. We see the interior of a taught strength. On more worn ground, but by one lamp, and there is a gold reflection in smithy, with several stalwart smiths round an with a sure and individual step, treads Mr. the left-hand corner of it which seems specially anvil on which one has just laid a horseshoe Gilbert. It is in no academic attitude that his miraculous; but we are content to be deceived hissing hot, the centre of the light and colour “ Icarus” stands, pausing as he well may be a little to gain so much pleasure. On the of the picture, and in itself an admirable piece fore he takes his fatal leap. It is well felt atd opposite side of the gallery, and as opposite as of true painting. Behind, some soldiers are well niodelled throughout, a thing beautiful possible to it in aim, is Sir Frederick Leighton's entering, not apparently without hesitation not so much by the supreme beauty of its ty? * Cymon and Iphigenia" (278), the only work as they confront these brawny fellows, one as by its admirable poise and sincere imaginiof his this year that demands special notice. of whom, resting on his hammer, meets them tion. It is vital and impressive work. If there In this case we have to lament no real or with a fearless and somewhat defiant air ; at is any other English sculptor whose work seems apparent loss of power. Careful study, re- the side a stair indicates a means of retreat of to me to demand a notice in this very restricted fined draughtsmanship, and well-considered which the rebel has probably already availed article it is Mr. Boehm. Among many lifelike composition are as apparent in this as in all himself. So the story tells itself perfectly. It busts that of " Lord Wolseley” (1722) struck the President's work. The beauty of Iphigenia is a thorough piece of good painter's art from me most, probably because he has been taken is unquestionable, and the arrangement of the beginning to end, worthy of the best traditions so often, and neither in paint nor clay have 1 drapery is learned and elegant. The principal of our school, and owing nothing to foreign seen so true a likeness. Of both ideal and per: fault of the latter is perhaps its abundance. influence. Despite the horseshoe, and the ruddy traiture there is something memorable in this Little less praise to be given to the figures glow of fire in the chimney, and the general year's sculpture, and of cats as well as men. of the sleeping attendants--the man with his prevalence of warm brown, the colour is not Mr. Thornycroft has a cat monumental hat head between his ees, the woman with the - hot;” and the gradual transition of light from essential, and Miss Alice Chaplin has cats quite child pillowed on her side, are separately beau- the interior to the open air is managed with absurdly real. The one would guard the portal tiful and fresh studies, charming not less by great skill. Nor should we omit to praise the of a palace and you can almost hear the others fineness of form than naturalness of pose. painting of the dusky flesh of the men, or the


Cosmo MONKHOUSE. Cymon is less successful. He is too refined for fine drawing of the horse in the foreground, his part-too motionless and emotionless. The whose cool gray hide and dark markings contrast between the untutored hind and the are of the greatest value to the picture. THE GROSVENOR GALLERY. sleeping beauty is lost. Nevertheless, analyse A recent trip round the northern islands has the work as you will, you come upon many furnished Mr. Brett with much excellent and distinct beauties of delicate modelling and material, fruitful in many characteristic works ; The exhibition at the Grosvenor Gallery is thorough draughtsmanship ; and, if the different and the subject of one of these is so fine, and one of average merit, and to a certain parts of the design do not blend into one its treatment so impressive, that a "first notice" tent distinctive, because the pre-Raphaelite perfect

vision, it is a composition which very of the Academy would be incomplete without school, which in recent years had shown sigas few artists now alive could excel. But, having it. This is " Macleod's Maidens, Skye (Natural of diminished vigour, has this time endeavourel achieved his design, the President has lighted Sculpture)” (395). These three strange isolated to re-assert its claims to notice. Unfortunately, and coloured it in such an unnatural manner rocks, carved by the winds and the waves into there is no falling off in the number of crude that it seems a work of superfine artifice rather the semblance of seated figures of stupendous amateurish works, admitted according to custom than fine art. The strange illumination which size, like the gigantic sculptures of Egypt, have to the gallery, which in too many instances turns the beauty and her drapery into amber been painted with the usual skill and veracity occupy prominent places. These greatly lower and ivory is very local in its effect, more like of the artist. Their strange resemblance to the character of the collection, and "detract




from the pleasure to be derived from the many taining numerous figures, and pvidently care- portrait of the “Marquis of Lorne”. (106), in works deserving of serious consideration. The fully thought out. Unfortunately, as a decora- which the costume, including a richly furred exhibition would certainly gain in interest, and tive work the pioture does not fulfil its object; pelisse, is treated with great breadth and skill : still more strongly maintain its right to a and it contains, besides, much very defective the head, on the other hand, is somewhat hard, separate existence, were an attempt made to drawing of the nude, and, what is rarer with and lacks refinement. introduce to the notice of the public some this artist, some inharmonious composition. Mr, Watts has sent a group of portraits, two foreign painters who in their own country Mr. Rooke cannot be said to have made an imaginative designs, and a large landscape occupy debateable ground, and whose aims and advance with his companion pictures, “Daphne study, of which the last-mentioned is, perhaps, method depart in some

from the flying from the Sun (229) and Clytie the most completely successful. None of the ordinary highways. Such, for instance, are turning towards the Sun" (240), though both portraits are entitled to take the first rank Puvis de Chavannes and Gustave Moreau in works contain some good drawing and careful among the painter's long series of similar France, and the Swiss painter Böcklin, whose painting. The conception is in neither case delineations, though all contain a measure of beautiful but eccentric works have for years adequate, and real pathos is wanting, while that large sympathy which in his works is been as hotly discussed in Germany as in our the draperies are impossible in fold, and the never wanting, and which enables him to grasp own country those of Mr. Burne-Jones and the treatment of the hair is almost precisely similar and set forth the more noble and subtle charlate D. G. Rossetti.

to that of the garments, Mr. Holman Hunt acteristics, both mental and physical, of the Mr. Burne-Jones exhibits this year a work, contributes a portrait of the late D. G. Ros- men and women he represents-to suggest on in his very best manner, which in point of setti (265), which is apparently an early work, the canvas the portrait of the mind as well as technical skill and mastery of execution far and has a certain historical interest as being of the body. In this rarest of all gifts Mr. transcends anything he has yet accomplished, a portrait of one member of the original pre- Watts has no rivals, or indeed emulators, among This is “King Cophetua and the Beggar Raphaelite brotherhood by another of the band. English painters, and but few among living Maid” (69). The king, clad in a full suit of M. A, Legros has “Women praying in a Continental artists. Among the present series fantastically designed mail, over which he wears Church Porch” (216), a work which recalls an the portrait of "Earl Lytton” (134) is, perhaps, a rich, many-hued garment, kneels reverently earlier and more complete one from the same the most suocessful, though its harmony of before the maid on the steps of a magnificent band, and which, notwithstanding its perfect tone is marred by the peculiar blue of the eyethrone or inner chamber, the walls and steps sincerity and many noble qualities, cannot be ball, which, in consequence of the low tone of of which are overlaid with thin plates of beaten said to attain the high level of excellence the picture, acquires a somewhat unpleasant gold of strange, almost Assyrian design. He shown in other instances by the artist. A prominence. The landscape study, “Rain holds in both hands a jewelled crown, which he Rocky Landscape (209), by the same, is far passing away,” is beautiful and pathetic in is about to place on the head of the maid, who more successful, and may take place as M. the grand simplicity of its design, and would sits in silent awe on the upper steps of the Legros' best landscape. Notwithstanding the be almost completely successful from a technical throne, wearing scanty, sad-coloured garments. extreme simplicity of the composition, its perfect point of view but for the attempt to represent Above, and looking over the back of the throne, truth and pathetic suggestiveness render it à rainbow. It is strange that the only two are two youthful male figures, wearing the worthy to rank with the productions of the examples of the highest order of landscape in painter's favourite rainbow-coloured robes; and great French school of landscape represented by the exhibition-the present picture and that of beyond is seen a door of semi-Egyptian pattern. Millet, Corot, and Théodore Rousseau. A little M. Legros, already referred to-should be the As an imaginative design the picture has many more firmness in the foreground would perhaps work of figure-painters, noble and pathetic qualities, and would be com- add to the charm of the middle and far distance. Mr. Alma Tadema's contribution consists of plotely satisfactory were it not that the M. Legros also exhibits works in bronze and three portraits painted on the larger scale to countenance of the maid, which is in every marble, to which we hope to return later. which he has of late accustomed us. The portrait respect the central point of the picture, lacks Mr. W. B. Richmond contributes a number of the Italian sculptor, “Sig. Amendola” (8), human interest and insufficiently expresses the of portraits of varying merit, some of which who is represented in studio dress, wearing a painter's meaning. Mr. Burne-Jones has attain a high level of excellence, while others Turkish fez, and holding in his hand a statuette unfortunately been unable here to are of less interest, though in all there is evident of silver and bronze, is a masterpiece of firm and break away from his favourite type of female a thoroughness of modelling and care in com- searching modelling and successful characterisabeauty, with its expression of hopeless abstracted position particularly grateful at the present tion. The painter has exhibited all his marvellmelancholy; and the picture suffers accordingly. time. He has been very happily inspired in his ous skill in rendering the accessories, and Many portions, such as the armour, the golden charming picture “May" (184), the portrait of especially the statuette on which the sculptor is walls with their curious reflections, and espe- a young and beautiful woman represented seated, at work, while resisting the temptation to give cially the king's shield, are treated with extra- with her hands on a keyed instrument, in the them undue prominence. The painting of the ordinary technical skill and yet properly sub- attitude of St. Cecilia. The arrangement of the flesh and treatment of the hair are perhaps not ordinated to the main design. There are also lines of the picture, if somewhat studied, is yet absolutely satisfactory on so large a scale, but many of those exquisite passages of colour in exceedingly happy. It is, however, not quite even hypercriticism could scarcely find any which the painter delights. Exception may, clear why it should have been deemed necessary other fault with this picture. Another remarkperhaps, be taken to the garments of the maid, to make the tints of the flesh and hair, the dress, able portrait by the same artist is that of "Herr which are so hard in fold as to suggest metal and the background almost identical ; the com- Löwenstam (143), represented in the act of rather than drapery. The whole work, and position certainly loses by this arrangement. etching from a picture that hangs before him, especially the noble figure of the king, has a The portrait of " Lord Čranborne” (205) is half obscured by the penetrating rays of the strong favour of Mantegna, without being carefully modelled, but somewhat hard; while sun, which enter from above. Here Mr. Alma an imitation of any work of that great in the full-length of the “Hon. R. L. Mel- Tadema has painted with greater breadth and painter. Mr. Burne-Jones's second contribu- ville” (37) the head is nobly drawn and treated, lightness of touch-so much so, indeed, as to tion, " A Wood Nymph,” is an agreeable, if but the costume and accessories have undue suggest at the first glance rather a production of somewhat monotonously coloured, decorative prominence, and detract from the effect of the the more modern French school than a work work in which varying shades of green are picture as a portrait. Among other portraits from his well-known hand. harmoniously treated. by the same artist may be cited that of “Miss

CLAUDE PHILLIPS. Mr. Spencer Stanhope sends “ Patience on a Rose Mirless " (81), which has much simplicity Monument smiling at Grief” (211), an eccen- and charm. tric example of the pseudo-quattrocentist It was a somewhat bold venture on the part of

SALE OF ALBERT LEVY'S PICTURES. school, in which the extraordinary angularity Mr. Millais to have placed in juxtaposition his The collection of that well-known amateur, of the forms and draperies is not redeemed superb and well-remembered portrait of “Miss the late Albert Levy, was sold at Christie's on by real intensity of feeling or insight. His Nina Lehmann” (57), painted in 1869, and his Saturday. It contained many excellent picinterpretation of the well-known lines has new portrait of the same lady-now Lady tures and a few good drawings, and of the at any rate the merit of novelty, if it cannot Campbell-(62). The former is one of his most pictures many had the additional interest of be otherwise commended. The melancholy complete and admirable works, and is one to having been formerly in the cabinets of famous lady (or Patience ?) sits on a mortuary monu- which Englishmen are glad to point as an

Of the David Cox drawings-most of ment in an Italian garden decorated with example of perfect technique from the hand of which were of his later and freer period-we statues of dubious shape, siniling sadly on an one of their painters. The new portrait, though note “Caernarvon Castle," a brilliant sketch, embodied figure of Grief lying prone at her in it the master-hand is still visible, and there which fetched 75 guineas; and “Stokesay feet. Surely here is a strange confusion of the is much to admire—especially the elegant Castle -seen on a cloudy day in the year poet's meaning! Mr. Strudwick sends two poise and treatment of the head-does not 1852—95 guineas. Of the oil pictures by the designs similar in style to the foregoing, and support comparison with the earlier one either same master, we should chronicle " Going to with even less real intensity of purpose. These as regards the painting of the flesh, the com- the Hayfield," 135 guineas (Maclean), and are "The Ten Virgins" (15) and “A Story plete and harmonious rendering of the surround- "The Hayfield,” from the Field Collection, 150 Book" (193) By Mr. Walter Crane is "The ings, or general charm and accomplishment. guineas. Both were small works. A fine and Bridge of Life," an elaborate composition, con- Mr, Millais shows besides in this gallery a luminous example of Old Crome, “Hautbois




Common "—known sometimes as “ The Clump cially opened by the Vice-Chancellor in Tthe number.. But his fame filled Italy in its day, of Trees”-sold for 415 guineas (Lesser); and presence of a distinguished company, The and Latinists like his fellow-citizen Guarino "A Sea Piece," by the other important master architect is Mr. Basil Champneys, who has and Tito Strozzi of Ferrara celebrated his perof the Norwich school

, John Sell Cotman, been wise enough to prefer appropriate decora- formances in enthusiastic verse as throwing fetched 180 guineas, which was an advance tion inside to external display. Besides a large those of Zeuxis and Apelles into the shade upon the sum which it had realised not very lecture-room, a library, and the apartments of His life is comprised approximately between long before in the sale of Mr. J. H. An- the curator, the museum is intended to accom- the dates 1380 and 1453 or 4; and the extant derdon's effects. A striking and large sketch modate two distinct collections : first, a series remains of his art, including his famous porin oils by Gainsborough, “The Mushroom of casts from the antique which is undoubtedly trait medals in bronze and the drawings in the Gatherer," sold for 87 guineas; and by the the most representative that has yet been got Vallardi collection at the Louvre, prove him to same master-fascinating alike in landscape together in this country; second, the local have been in truth one of the great pioneers and in portraiture—there was a “Portrait of collection of the Cambridge Antiquarian among Italian artists in the study both of a Gentleman,” whom Mr. Graves declared to Society and a miscellaneous collection of eth- nature and of the antique, and to have posbe Mr. Donington Hunt. It fetched but 170 nological specimens mainly presented by Mr. sessed powers and attainments more than equal guineas, but was not, indeed, among the more Maudsley and Sir A. Gordon. The former will to those of any contemporary Florentine same charming instances of Gainsborough's art. For be under the charge of Mr. Charles Waldstein, Masaccio. 490 guineas Mr. Permain became the purchaser the Director of the Fitzwilliam Museum, who The drawings now in question are somewhat of a sufficiently captivating portrait of “Per- succeeded Prof. Sidney Colvin last December; rubbed and faded, but otherwise intact. They dita” (Mrs. Mary Robinson). We come now the latter will be under the charge of Baron cover both sides of a single sheet of paper 21 to the foreign pictures, of which the first of von Hügel.

centimètres high by 18.5

wide (ten inches and much interest was the vigorous and spirited Instead of commenting upon the value of three-quarters by seven and a half) and bearsketch of “The Fiddler," by Frans Hals. It this new undertaking, we prefer to quote the ing the water-mark of a forceps. Each is a fetched 110 guineas. There were, in the day's following letter from Prof. Michaelis, of Strass-composition of many figures, somewhat highly sale, several pictures of Venice by one or other burg, to Mr. Waldstein, which was read on finished on a small scale, and is executed in pem of that group of painters of whom Canaletto the occasion :

and bistre on a prepared ground of a yellowishhas, on the whole, been justly accounted “You are going to celebrate the inauguration of pink colour. The sheet formed part of the the chief. Marieschi’s “View on the Grand your new museum of casts, the beginnings of which Sloane collection, and has therefore been in Canal,” which fell to Mr. Agnew's bid of 170 Prof. Colvin kindly showed me on my last visit to the Museum since its foundation. But it guineas, was, in some respects, among the most Cambridge. You know how deeply

. I am interested had been oddly put away among the works interesting of these Venetian pictures. Next in whatever concerns your university, with which of “anonymous Germans," in examining which came a characteristic Brekelenkamp, refined and I feel happy to be connected in more than one the other lay my friend Dr. Lippmann. agreeable—" A Dutch Interior," with an old way. On the present occasion this feeling is the of the Berlin Museum, called my attention to lady seated, and giving forth her instructions stronger, as this latest improvement of your aca: its obviously Italian character, and to the to a kitchen maid-35 guineas.

" The Meeting studies to which I

demical institutions deals with that department of Venetian features of the architecture in one of Jacob and

Esau," from the Novar Collection, Cambridge has already the merit of being the first of the designs. I have since been able to fetched 285 guineas, which was rather less than British university in which classical archaeology identify it beyond, doubt as by the hand of when it last changed hands. . There was a truly has obtained a fixed place in the scheme of classical Vittor Pisano. Not only is the workmanship delightful example of Nicholas Maes

$-an teaching. Now Cambridge is making a further his, but the design on one side of the sheet is a “Interior," with a group of figures, prominent and not less important step towards the advance- careful preliminary study for perhaps the most among them a woman arranging a child's hair. ment of archaeological instruction by forming a famous of his lost pictures. It exhibits a Gothic It is described by Waagen in his now somewhat museum of casts from ancient sculpture, dedicated colonnaded hall, with features freely adapted antiquated Art Treasures of Great Britain. It in the first place to the use of students of ancient from the façade of the Ducal Palace at Venice. was then in the Novar Collection. At the sale art. In Germany, since the days of the venerable In the summit of a central arch hangs a shield of that assemblage of pictures it realised 450 Welcker, we are

fully aware that such a museum is bearing the device of the imperial eagle, and guineas, and it is rather surprising that only

as necessary a supplement to archaeological lectures under this, in the middle of the composition, 305 should have been paid for it under the ham, istry, or as an hospital is to the oral instruction of as a laboratory is to lectures on physics or chem.

on a dais approached by a high fight of mer on Saturday, For 360 guineas there was sold medical students. I have little doubt that your steps, sits a king robed and crowned. He “A Sunny Landscape” by Cuyp. This also had example will soon be followed by the sister uni- extends his right hand to a young man kneelbeen among the Novar pictures. We have only versities in your country, and that your museum ing on both knees at his side (to the spectator's three other pictures which it is essential to of casts will in future days be regarded in Great left), who clasps it, while lower down on the notice, two of them by that master of satire Britain with a feeling of grateful veneration steps, towards the opposite side, his comand of expressive painting, Jan Steen, the similar to that with which German archaeologists panion does homage on one knee; higher up third by Rembrandt and a chef d'auvre regard the museum of the Bonn. University, on the same side another companion stands in of his brush. By Jan Steen was The Sick founded about sixty years ago, in which many of the attitude of respect; a little farther right

, Lady,” which Mr. Martin Colnaghi bought for our living archaeologists have acquired their first and higher up again, stands a priest; a crowd 315 guineas. It must have been cheap, for it personal knowledge of the masterpieces of Greek of courtiers or onlookers are grouped stand

It came from the Van Loon Collection, is de- opened at Cambridge to students of classical art will / ing between and behind the columns of the to boot, a good enough example of Steen's archaeologists who will be able by themselves to flight of steps two dogs are seen playing. The what unnecessarily solicitous about the health private collections, so as to leave no opening sleeves, tight-fitting hose, and plain jerking of a young lady whose pulse he feels, and is for foreigners to intrude themselves, as it were, adorned with a hood; they, as well as the one of the innumerable instances of the satirist's into your own department. Allow me, then, on king, are bearded, which was not at this time treatment of this suggestive theme. The this occasion very heartily to congratulate your the fashion in Italy. The attendant personages second Jan Steen was called “The Proposal.” university-to congratulate those who first formed to right and left are mostly dressed in long A gentleman supposed to personate the artist

the plan of founding such a museum, as well as robes or gowns fitting close at the throat. though why he should have given this account those who have in one way or another assisted them of himself it is difficult to say-approaches a

Now it is well known that immediately after and contributed to the promotion and completion (or, as some think, immediately before the rear pretty young woman with what is at least a if you would be good enough to make yourself the two most famous

painters of their time in Italy The Rembrandt was the famous portrait of the tions to the Vice-Chancellor and the other author. Gentile da Fabriano and Vittor Pisano, to master which until somewhat lately had be- ities of your university."

decorate the walls of their great hall with longed to Lord Portarlington. It fetched 1,800

frescoes.* The subjects of these paintings were guineas, Mr. Martin Colnaghi being the purchaser. The price was an advance of several


See Bernasconi, Studj sopra la Storia della Pittura hundred guineas upon the sum at which it had

italiana (Verona, 1865), pp. 66, 67; Crowe and last changed hands, but, as Mr. Woods observed

Cavalcaselle, History of Painting in Italy, iii., p. 98. from the rostrum, such work is “outside com

British Museum : April 28, 1881.
note 4; Morelli, Italian Masters in German Galleries

, merce.” Your readers may be interested to learn the p. 356,

and note; and particularly Fr. Wickhoff

, existence at the British Museum of a hitherto alten Schmucké," in the Repertorium für bildende THE ARCHAEOLOGICAL MUSEUM AT unrecognised sheet of drawings, of great beauty Kunst, vol. vi. (1882), pp. 1 899.: for the whole his CAMBRIDGE.

and still greater historical interest, by the chief tory of his subject this writer makes excellent se On Tuesday last the new buildings at Cam- North Italian master of the early quattrocento, of the original documents collected by Lorenzi

, bridge which are intended to form a centre for Vittor Pisano. The extant works of this dis- Monumenti per servire alla Storia del Palazzo ducale the serious study of archaeology were offi- tinguished Veronese artist are extremely few in di Venecia (Venice, 1868).



the same as had already, it would appear, slight finish, for a battle in the neighbourhood published by Messrs. W. Swan Sonnenschein. occupied the same places in the series painted of a camp. Most of the combatants are on horse- Mr. J. Stanley Little is the author. nearly fifty years before by Guariento and his back, and the horses are of the sturdy, roundassociates. They were chosen in order to illus- limbed, thickset, and short-eared type with

At a recent meeting of the Académie des Intrate the part played, or rather imagined by which we are familiar in some other drawings scriptions a letter was read from M. Salomon the patriotism of Venetian chroniclers to have of the master and in his medals; the heavily

Reinach giving a first report of his excavations been played, by the Republic in the wars be- armed riders have also the same seat in their M. Babelon. It appears that the spot is still

on the site of Carthage in company with tween Frederic Barbarossa and Alexander III. high-peaked saddles, with the legs, stiftly called " Carthaganna”

by the natives. A well, in 1177. Gentile da Fabriano depicted the advanced at a forward angle towards the stir- four cisterns, and several foundations of walls naval victory

supposed to have been won by rup: Both men and horses are drawn in every have been exposed ; and among the objects found the Venetian fleet over that of Barbarossa com- variety of vigorous action and foreshortenmanded by his son Otho; Vittor Pisano, the ing, not only with a rare fineness of style, tion written in ink, a terra-cotta mask almost

are a piece of pottery with a Neo-Punic inscriparrival of the same Otho before his father after but with a knowledge and a power of repre exactly similar to one at the Louvre, an ivory parole by the Venetian

State. Both frescoes ing for the time, and distinctly in advance of the bas-relief with the figure of a goddess, and å had in their turn fallen into decay within little contemporary battle-pictures of the Florentine

colossal marble statue of a Roman emperor. more than half a century after they were Paolo Uccello, with the spirit of which that finished, and were replaced by oil pictures of of the work before us shows, for the rest, a the same subjects, undertaken, in association close affinity. This example, even if it stood

THE STAGE. with the Bel by Luigi Vivarini in 1488. alone, would almost suffice to justify the en

MADEMOISELLE DE BELLE ISLE " The work of these younger masters perished in thusiasm with which writers like Guarino and its turn in the conflagration of 1577. But Strozzi speak of Pisano's power of drawing

AT THE OPERA COMIQUE. several detailed accounts of Pisano's original animals and their movements. Whether it FANNY KEMBLE's highly decorous, yet not painting have come down to us. The first is represents in whole or part the design for any always very tasteful, adaptation of Alexandre by his contemporary Facio, who wrote before picture actually carried out by the artist, in Dumas's comedy, “ Mademoiselle de Belle 1457 :

the Castello of Pavia or elsewhere, we have Isle," was played at the Opéra Comique on "Pinxit Venitiis in Palatio Fridericum Barbarus- no means of knowing; but that he did some- Wednesday afternoon, principally that Misg sam Romanorum Imperatorem et ejusdem filium where paint a picture of a cavalry battle we Edmiston, who has already played a good deal supplicem; magnum quoque ibidem comitum may infer from the lines of Guarino:

in the provinces, might be seen in London in coetum Germanico corporis cultu orisque habitu:

“hinnitus audire videmur

an iniportant part. The piece itself is curious. sacerdotem digitis os distorquentem, et ob id

Bellatoris equi, clangorem horrere tubarum."

It is, much of it, as improbable as are most of ridentes pueros tanta suavitate, ut aspicientes ad

the stories of adventure which it was the prohilaritatem excitent” (Facius, De Viris Illustribus, It may be remarked that the fashions both of fitable pleasure of the elder Dumas to spin. Florence, 1745, p. 47).

armour and civil dress illustrated in these The motive of the piece is a wager made by the Another account is by Francesco Sansovino, two designs are plainer and less fanciful than Duc de Richelieu, who, coming back from who says, writing in the latter half of the those which prevail in the later drawings and Vienna, finds the French ladies seemingly mcre sixtenth century :

medals by the master, a difference probably austere of conduct than was their wont when

due to changes of fashion, which, as we may he left them. His friends assure him that this “Il quadro dove, Otthone liberato della Rep. gather from his personal description by the is indeed so. But the Duc declines to believe s'appresentava al padre, essendo prima stato

same Guarinodipinto dal Pisanello, con diversi ritratti, fra

it, and he bets that he will yet make himself quali era quello d' Andrea Vendramino, che fu il “Moribus insignis, pulcroque insignis amictu. the accepted lover of the first woman whom più bello giovane di Venezia à suoi tempi, fu he would not have failed to follow with sym- he meets. We need not tell in detail here the ricoperto da Luigi Vivarino (Sansovino, Venezia pathy. Lastly, I would mention that, at the distinctly unsavoury story of how he appears descritta, Venice, 1581, p. 124).

foot of the sheet, on the side last described, to win his wager. Suffice it to say that the The design of Vivarini, who in repainting some German or Flemish owner to whom it be- first woman he meets is a Malle. de Belle Isle, the subject may be presumed to have followed longed in the sixteenth century has scrawled whose father is in the Bastile, and that he in essentials the lines laid down by his pre- words which read apparently Třups Merten, for offers her to begin with, not his love, but his decessor, is thus described by Vasari :

Hübsch Martin-i.e., Martin Schongauer-friendship, and that circumstances arising “Accanto a questo fece Ottone arrivato dinanzi showing that he ignorantly attributed the work which cause her to be absent from her rooms he

SIDNEY COLVIN. enters them by a secret door and displays himal padre, che lo riceve lietamente, ed una prospet- to that Alsatian master.

self at the window. Thus he would appear to tiva di casamenti bellissima ; Barbarossa in sedia, a il figliuolo ginocchioni, che gli tocca la mano,

have won his wager, and the thought that he accompagnato da molti gentiluomini Veneziani, NOTES ON ART AND ARCHAEOLOGY. has done so is found gravely disturbing to the ritratti da naturala,” &c. Vasari, ed. Milanesi, MESSRS. FRANK DADD, C. NAPIER HEMY, hitherto accepted lover of Malle. de Belle Isle. ).

reality, AND H. R. STEER have been elected members This long-established lover, on whom As the internal evidence of the British Museum of the Royal Institute of Painters in Water- of course, all her affections are lavishly bedrawing furnishes a sufficient warrant for its

stowed, upbraids her with her inconstancy. Colours. attribution to the hand of Vittor Pisano, the

She denies the accusation, and is even astonished above accounts render it obvious that it is, as

THE Magazine of Art for June will contain at it, but she is pledged by a vow not to exI began by stating, a study for the lost fresco the first of a series of illustrated articles on the plain to a soul that she was absent; for, in which they describe. The priest, indeed, is not exhibitions, with engravings of "The Declara- truth, the Duc de Richelieu's wife or, in the in our drawing perceptibly pulling a face, nor tion of War,” by Mr. J. D. Linton ; “After French, his mistress-for purposes of private are there little boys to be observed laughing; Culloden,” by Mr. Seymour Lucas;, “The jealousy, had given Malle. de Belle Isle the neither can we tell in which of the figures was Mower,” by Mr., H. Thomycroft; and “The chance of visiting her father in the Bastile, to be represented the likeness of the young which last will form the frontispiece to the in her rooms, and it was thus that the young

Gladiator's Wife," by Mr. E. Blair Leighton, very secretly, when the Duc de Richelieu was Vendramino; but the general correspondence with the descriptions is unmistakable. It number.

lady had been absent and unaware of his visit. should be mentioned that one of the modern MR. T. Wilson, of Edinburgh, announces an By a series of adroitly planned misunderstandcritics already referred to, Herr Wickhoff, has annual series of summer exhibitions of the ings, Dumas prolongs the action of the play—a previously called attention to a much smaller and works of some selected Scottish artist, to be held duel becomes imminent between the real and slighter sketch in the “Codex Vallardi” at the in his galleries in George Street. He will begin the pretended lover-but matters are at last Louvre, which sets before us a different and this year with the late Sam Bough, and he has put right by the Duke's wife avowing her part apparently an earlier idea for the design of the already obtained promises from several gentle in the business, which, as we need not tell in same subject; the architecture resembles that men who possess valuable collections of this detail, was very legitimate, though not very in our drawing, but the Emperor is placed to painter.

delicate. Miss Edmiston is a refined and capable the right of the composition instead of the

MESSRS. TRÜBNER have published this week actress, who understands the part, who is not centre, and his councillors instead of standing; a volume containing the lectures on painting without a certain flexibility and variety, and other in front of him (see Wickhoff, op. cit., Hodgson. They form two sets of six lectures arise in the delivery of the language of comedy p. 21). The drawing on the opposite side of the Times” and Artists of the Past.” each, dealing with “Art as influenced by the and passion. But there are occasions when à

want of spontaneity is manifested in her persheet at the British Museum is finer and better

formance, and, yet more, a willingness to preserved, though of less historical interest, A WORK dealing with the position of art in abandon herself to the tempest of emotion. In than that above described. It consists of a this country, and the system of training pur- a comedy which is after all chiefly a melodrama, number of admirable studies, small, but of no sued at the Royal Academy, is about to be there is such a thing as husbanding one's efforts


a little too much. We would therefore counsel evening, was well attended. The programme is & fine specimen of Raff's workmanship. to Miss Edmiston, whose performances are contained two novelties. The first was a As music, the first two movements please never lacking in tastefulness, a greater measure so-called Concerto for Violoncello by M. us best ; but it is throughout a remarkable and of abandonment. She has worked hard already Jules de Swert-a piece in one movement, a brilliant work. Dr. Bülow also played as to acquire art, and with so much success that rhapsody, an improvisation, but certainly solo Beethoven's Variations in E flat (op: 35), she may now fairly be invited to work yet not a Concerto. It served (to quote the and obtained loud and enthusiastic applause. harder to acquire more fully the appearance of stereotyped remark) “ to display the artist's We must also notice the excellent conducting of nature. The air of great surprise was wanting executive powers ;

than this we Mr. F. Cowen; he had the orchestra well in to her, we fancied, when she read what Malle. cannot say. * Herr Richter's novelties have not hand, and seemed to have rehearsed with the de Belle Isle had never seen before, and must always proved interesting, but hitherto he has utmost care. Beethoven's “Eroica" and the have been marvellously astonished to see—the steered clear of mere virtuosity. The composer, “ Meistersinger ” Vorspiel were the chief orchesDuc's mendacious and boastful letter. Volume a Belgian artist; performed the Concerto with tral pieces. Mr. Santley was the vocalist; he and passion were sometimes absent from her considerable skill. The other novelty was sang an air of Handel, and a new scena by Mr. voice when she would have gained by their em- Brahms' “Gesang der Parzen” for chorus and A. G. Thomas-a clever, graceful, if not very ployment, but her management of her effects at orchestra (op. 89). The words are taken from original work.

J. S. SHEDLOCK. the end of the third act, when her lover Goethe's " Iphigenia in Tauris.” The picture absolutely refuses to believe her protestations of the all-ruling gods is stern and cruel, and any more, was both ingenious and skilled. Brahms has caught at times the true spirit of

MUSICAL PUBLICATIONS. Here, indeed, and in many other places besides, his theme; there are fine passages, but the Voice, Song, and Speech. By Lennox Browne she fairly carried her audience with her. On music on the whole seems laboured. The work and Emil Behnke. (Sampson Low.) This the whole, she was well supported. Mr. will soon be heard again, and we shall duly, volume is a practical guide for singers and Macklin, by his excellent presence, the quiet record second impressions. Another feature of speakers from the combined view of rocal assurance of his carriage, his composure, and the concert was the magnificent performance of surgeon and voice trainer. The two authors his undeniable acquaintance with stage resource,

Mr. A. C. Mackenzie's Ballad for Orchestra, are men of experience and authority, and each made a sufficient Duc de Richelieu ; Mr. Mark “La belle Dame sans Merci.” At the close the has already written on the subject of the Quinton, as the Chevalier Daubigny, the lover, composer was twice summoned to the platform. human voice. Though treating of scientific was earnest, if not distinguished; and the lady We have already spoken of this tone-poem, matters, the language is clear and simple; and who played the part of Richelieu's wife-she which ranks among the best of its author's the book will probably become, as intended

. : would appear to have been married to him only productions. The concert concluded with manual for all voice-users. The anatomy and in secret in the English version, as she is styled Schumann's “Rhenish” Symphony, but the physiology of the vocal organ, and the inven“Marquise de Valcour"--made an upward interpretation was not all that could be desired. tion and use of the laryngoscope, occupy many move in her career. The lady is Miss Annie Robe, An interesting feature of next Monday's concert pages, but there are other subjects of a practical and she is playing habitually, it seems, a small will be the first performance in England of nature, such as the hygienic aspect of the vocal part in the successful piece at the Adelphi. She Brahms' new Symphony in F.

apparatus, voice cultivation, and the daily life of has ease, grace, and a measure of genuine feeling, Dr. Hans von Bülow gave his second piano- the voice-user; also stammering and stuttering. and, like Miss Edmiston herself, should shortly forte recital at St. James's Hall last Tuesday There are numerous excellent illustrations by be visible in parts which may only be played by afternoon. It was, we think, a mistake to wood-engraving and photography. the intelligent, the studious, and the variously place Beethoven's Sonatas op. 110 and 111 at

Music and the Piano. gifted. For a matinée, the whole performance the end of the concert. The Suite in D

By Mdme. Tiard was distinctly interesting, and we confess to the minor by Raff was played with great energy; Warrington Smyth. (Griffith & Farran.) Mdue.

Louis. Translated from the French by Mrs. weakness of having attended to the acting all the more because of the absence of those luxurious piece of writing, the Gigue with variations Viard-Louis treats, first, of the general history accessories which somehow crush the spirit out ingenious, but in the two last movements of the art of music; then, of the persoaal of so many a dramatic performance. For a the composer indulges far too much in bravura history of composers for the piano; and, lastly, change, at all events, it was welcome—this old- passages. At the close of the March the gives advice on style and execution. The fashioned poverty of scenic display.

pianist's memory failed him for a moment. plan of the book is a good one, and it contains Playing without book is a somewhat risky pro

much useful and interesting information. Howceeding; however, Dr. Bülow has a prodigious ever, we have come across statements that are MUSIC. memory, and with him a slip does not cause

not accurate. It is surely not correct to say RECENT CONCERTS.

disaster, as it might in the hands of less that, after his death, Bach's immortal works Señor SARASATE gave his first concert last of the afternoon was Rheinberger's Toccata never neglected, while others, and the most

experienced players. The finest performance remained unrecognised until 1788; some were Wednesday week at St. James's Hall. For (op. 12); for an encore Dr. Bülow played one purity of tone and perfection of technique, of the composer's clever pieces for the left much later period. In the account of Mayda This violinist is perhaps without a rival; and his hand. W would Iso notice the Brahms mention is made of Friedberg, leader of the wonderful performances of Fantasias, Dances, Variations on

a Hungarian Song, and the orchestra of Prince Esterhazy, but Pohl, in his Mazurkas, always astonish the public, and Capricci and Intermezzi from op. 76. in the two Life of Haydn, tells us there was no such secure for him receptions of the most enthusi- Beethoven Sonatas the pianist was not alto person. Again, Mozart is spoken of as finiskastic kind.

We have in past seasons spoken of gether at his best ; some portions were magnifi- ing his " Requiem” on his death-bed. And the way in which he plays Mendelssohn's Violin cently rendered, but in others his playing was

why does the author invent a programme for Concerto, and it is still the same; we are somewhat exaggerated, and there were also Weber's Sonata in C, and not say anything listening to a finished and brilliant performance signs that his powers of endurance had been self given of his Sonata in E minor and the

about the programmes which Weber has himrather than to a noble interpretation of the severely taxed by the long and fatiguing pro- Concertstück? Mdme. Viard-Louis pities Wag work. Señor Sarasate provides for his audience

gramme. a substantial programme; besides the Concerto, there was the “Jupiter Miss Margaret Gyde gave her pianoforte ner“

for having striven to pass the limits which Symphony and the recital at the Steinway Hall last Wednesday nature has assigned to his art." * Egmont” Overture, both conducted by Mr. afternoon. She showed, perhaps, courage

Berlioz. By Joseph Bennett. "Primers of W. G. Cusins. Señor Sarasate will give three rather than discretion in choosing Beethoven's Musical Biography." (Novello.) An interestmore concerts during this month.

long and difficult Sonata in B flat (op. 106). ing account of an interesting man. Mr. John Farmer gave a "recital” of his The performance was in many respects praise- Bennett does not give us much of his own Fairy Opera, “Cinderella,” last Friday week, worthy. The young lady has good command opinion about the celebrated French composer, at St. James's Hall. He describes it as “a of the key-board, and plays with taste and but almost leaves Berlioz to speak for himself Little Opera for Big Children, or a Big Opera intelligence; she needs only time, and the there are copious extracts from his letters and for Little Children; but we fear it is too experience which it brings. She played also from the Mémoires--one of the most sparkling little for the former, and too big for the latter. pieces by Bach, Mozart, Schumann, and Chopin, and attractive of books. There are some cheerful tunes and amusing and was heard to advantage in some showy words, but it is impossible to say exactly what Thalberg music. effect it would produce if given on the stage.

The Fifth Philharmonic concert took place LESSONS from the RISE and FALL of the Therefore we have merely to record a success- last Wednesday evening. The performance of ful performance of “Cinderella” in the concert- Raff's Pianoforte Concerto in C minor by Dr. ENGLISH COMMONWEALTH. room; it was well given and well received. Hans von Bülow first deserves mention. The

By J. ALLANSON PICTON, M.A. The principal vocalists were

Miss Mary Davies, great pianist was in his best form, and the work CONTESTS : 1. INTRODUCTORY, 11. - TREASON and LE ALESSA Miss Clara Samuell, and Messrs. Lloyd and dedicated to him enabled him to show off to

PHYSICAL FORCE." - V. "THE SOURCES of POPULAR ENTHUPyatt. The composer conducted his work. the best advantage his marvellous dexterity The third Richter concert, last Monday and great strength of finger. The composition London: ALEXANDER & SHEPEE IRD, 91, Castle-street, Holborn:

Aud ali Booksellers.

Just published, crown 8vo, cloth, price 23, 61, post-free.

SIASY."-VI. “REPUBLICANISA: Form and Sabstance."

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