spirit; and that baldness, which is produced by the omission of essential details, for breadth. Opposed to this is the irksome extreme of the matter-of-fact man, or fac-similist, who mistakes painful elaboration for high finishing, and the insertion of accidental and unessential littlenesses, for truth of nature.

We find, with very few exceptions, a beautiful attention to the taste of the handling and touch, in the best works of all the great masters, both ancient and modern. It is a princpal excellence in the landscapes of Titian, and Claude, of Paul Brill, the Caracci, Dominichino, Gaspar, and Nicholas Poussin; of Vernet, and all those Italians or foreigners, who rank high in the old landscape schools. The touch and penciling of Salvator are pregnant with character, yet his attention to that excellence has not impaired the savage grandeur of his general effect, or the poetry of his scenery and banditti. Notwithstanding the freshness and harmony of their colouring, if you take away from Canaletti, Guardi, Marieschi, and Zuccarelli, their brilliant touch, you take away half their merits. The taste of their handling is, also a leading charm in the landscapes of Ruysdael, and Hobbema, the two most admired landscape painters of the Dutch and Flemish schools.

How much does the exquisite handling of Calcott, Danby, and Stanfield, differing as they do in particulars, add to the charm of their scenery? Of how many other distinguished metropolitan artists may not the same be said? Do we not see a similar study to excel in this excellence in the performances of a number of able landscape painters in different parts of the kingdom; of Giles, of Aberdeen, in whose works the spirit of Claude appears to revive; of Rogers, of Plymouth, whose pure taste and admirable execution leave nothing to be wished for in his charming landscape, "No. 84"; of Balmer, of Sunderland, in whose moonlights the lovely serenity of that lonely hour is so deliciously painted; in the landscapes of Henry Lines and Creswick, of Birmingham, to whose striking merits I have of late adverted; of William Sympson, of Edinburgh, who displays so much versatile excellence in landscapes, cattle, rustic figures, small whole-length portraits, river-scenes, boats, fishermen, shipping, and almost every class of cabinet representations in familiar life? How many more eminent provincials might be named on this point, who have risen to professional celebrity under heavy local disadvantages. In this splendid exhibition by the Society of Artists in Birmingham, for ONE LANDSCAPE in the "general effect," SPLASHING, DASHING, SPOTTY MANNER, there are, perhaps, a hundred, in which every other merit is set off by the taste and spirit of the penciling, and about a hundred more in which that taste and spirit are objects of welldirected emulation.

Here I have to correct an oversight into which I fell in my first communication, arising from the exhibition having opened so late in September as the 11th, which necessitated me to hurry my penciled notes in the rooms, to be in time for insertion in the next publication of "The Analyst." I subsequently had also to write out my manuscript at a distance from the exhibition, and to hasten it off by post, without an opportunity of comparing it with the paintings. The general difficulty of avoiding some mistakes in the names of artists and sizes of paintings, may be instanced by the fact that several pictures are misplaced and misnamed in the printed catalogue, notwithstanding all the utmost care and vigilance usual in writing out such publications. The oversight of mine is not of any consequence. In page two hundred of "The Analyst" for October, line 16 from the bottom, "the four little gems" ought to be "the three little gems." They are 110 and 112, by T. Baker, and 111, by T. Creswick. “109-Morning," by the latter, is a goodsized cabinet picture, an enchanting landscape, exquisitely painted; but,

as a representation of English scenery, rather deficient in the mellow, shadowy verdure of this country; to say the truth, the vernal suavity and freshness of local colouring, in woodland landscape, is a point to which the admirable Creswick may direct some attention without any disadvantage. In street and city views, every effort of his pencil is a victory.

32-Teniers in his Study," the property of the Rt. Hon. Lord Northwick, by J. Fraser. The British artist has here represented his celebrated Flemish predecessor painting "The Temptation of St. Anthony," a story which had been a favourite with the painters and engravers in Germany, Holland, and Flanders, during nearly two centuries before. Martin Schoen, of Culmback, engraved his temptation of "Saint Anthony carried into the air by Demons" about the year 1470. The temptation, by old Jerome Bos, of Boisle Duc, is dated 1522. Jacques Callot, of Nancy, was so enamoured of the whimsical distresses of the holy man, that he made a number of different designs of it (of which Watelet saw four) before he etched his first Temptation, dated 1635. His second print is without a date, and rather scarce. Jacques vied with hellish Breughell in the ungovernable freaks of fancy, with which he animated these drawings, some too ludicrous, others not over delicate, but more merry than sad. The temptations painted by old Teniers were very popular his son's became more so. Although young David was not remarkably squeamish in peopling his canvass with diablerie, he kept his pencil more under decorum than some of his predecessors. In his repetitions of the Saint's perils, his imps, fiends, goblins, and monstrous apparitions, present themselves to the eye under the most fantastic shapes of strange fishes, beasts, birds, and reptiles; some headless bodies frisking it in the dance, and bodiless heads on the wing, spitting fire. Again, the members of different species are conjunct in one unseemly form, and groups of these are diversified by imaginary spectres of the artist's prolific invention.

The temptation of the Saint on the easel before Teniers, is copied by Fraser either from the painting or well-known engraving. He has represented a female with a cup in her hand, sitting to the painter as a model for the principal tempter or temptress; it being supposed that Satan, from his knowledge of human frailty, rested his chief hope of a triumph over the virtue of the Saint, on the assumed form of a fair syren with a wine-cup. The small copy on the easel is nearly finished, and in drawing, touch, and colouring so much in the spirit of the original, that, if any Goth were to cut it out, it might be easily mistaken for a study by Teniers.

In the texture and the surface of the numerous accessories, the artist's acute eye and discriminative pencil have been eminently successful. Of his extraordinary talent, the carved crucifix, huge open volume, terrestrial globe, skull, hour-glass, and other articles, on the right side of the picture, furnish examples. A peacock, the painter's cabinet-stand of oil-bottles and colours near him, and an old portrait, supposed to be hanging in its frame on the wall, are equally striking. On the left side, a parrot, fruit, fire-arms, a gauntlet, musical instruments, and other articles somewhat beyond, exhibit, in different degrees, a surprising fidelity of imitation. I may not be very exact in naming those varieties, but of the artist's extraordinary powers I speak with confidence.

Much of the beauty of effect in Teniers' paintings is produced by light upon light; and Fraser has introduced the light from a high window, and spread it finely through the apartment, in a clear, cool, silvery style. My former remark on the burly person of Teniers, and my wish for some more beauty in the female model, to render her a more seducing temptress to the Saint, are chiefly respecting the degree of gentility in his figure, of attraction in hers, and of more warmth in the carnations.

These are matters which will always be judged of according to the taste and fancy of individuals. Undoubtedly, wherever the imitative skill of an artist is carried to a very high degree of perfection in the still-life accessories, we look for equal, or superior, excellence in the dramatis personæ.

I have a great pleasure in stating, as a proof of the extraordinary power of impression, which this picture possesses, when the Directors of the British Institution exhibited it at the Gallery in Pall Mall, they hung it most conspicuously, close to the top of the grand staircase, on the right-hand wall, so that it was next the eyes of the visitors as they entered; a place in which none but pictures that are considered of the highest merit and attraction, are hung. I admired it there during many days, and it was generally beset by admirers. Some time after, I was assured that several amateurs, and among others, a noble Duke, lately deceased, had been anxious to purchase it, but while they were making up their minds, the present noble possessor stepped in and carried off the prize. I repeat this latter from hearsay only, but I know it was very much admired, when lately exhibited in the Worcester Athenæum, and is, now, an object of general attraction in the Birmingham Exhibition. I here insert, with much satisfaction, the following extract from observations on this performance of Fraser's, published by some very warm advocate of British art. "His painting-room of Teniers is one of those fortuitous productions of the Art, which, like a comet, is the surprise of some, the admiration of others, and the wonder of all."

66

357.-The Antiquary," the property of the Right Hon. Lord Northwick, by J. Fraser. The particular incident is not mentioned in the catalogue, which leaves the spectator at a loss, without a clue to the interest of the scene. There are four figures introduced, a lady seated at a table, with a pen in her hand, ready to write from the dictation of the Antiquary, who sits opposite to her; a portly military-looking veteran standing beside him, apparently waiting for some decision, and a servant lad stooping down, emptying a trunk. The three latter are coloured with a Rubenesque force and richness. The carnations of the lady are rather chalky, and her person and aspect have not all the delicate freshness of youth. The apartment is very large, and abundantly stored with matters of antiquarian research. The eye is attracted by curious articles of ancient furniture, and rare mechanism; a massive old bookcase, filled, as we may suppose, with unique volumes, in black letter; richly carved ornaments, terrestrial globes, a huge black brazenclasped folio, literally in boards; fire-arms of all constructions, military weapons, ancient and modern, of various nations; embossed shields, armour, and many other collected treasures, in wood, ivory, glass, and metal. These are disposed with judgment to the best advantage for picturesque effect. As a very detailed notice of this picture was recently published in my critical letters, it is not necessary for me to extend my observations. I may safely add, that the principal of these accessories are executed with as much spirit and truth as those in the preceding painting. The artist's eye and hand have been equally diligent and successful. There is a surprising depth and transparency in the shadows, and the general effect is very brilliant and powerful.

"13-Portrait of Mr. Martin," by J. Hill; a very clever head, correctly drawn and marked, without any great depth of shadow on the face. Some gray half-tints in the carnations would have a happy effect. At present there is a little indication of what artists term foxiness in the flesh; but this so very slight as to be barely discernible. As there are no very dark touches on any part of the features, to bring them up on a par with the black silk neckerchief or stock, the forcible black mass of the latter detracts, in some degree, from the relief and effect of the face.

But a sitting of half an hour would put all to rights. There is much merit in the picture, and the identity of individual character, which constitutes so great a value in a portrait, is very happily expressed.

"97-The Bridesmaid," the property of the Rt. Hon. Sir Robt. Peel, Bart., by E. T. Parris, is a young and pleasing female, alone in her chamber. There is much easy elegance in her person and dress, and a very interesting expression on her countenance. This design is well known, by the popular print engraved from it, and to be seen, for some months back, in almost every print-shop.

86-Wafting Love to the World," by Miss Kendrick, is a very tasteful design, conceived in the spirit of poetry, and painted with a sweet pencil, in glowing colours.

"156-A Gig Horse and Terrier," the property of Mr. George Wilmot, by E. M. Fox. These are not only correctly drawn, well coloured, and painted with a firm pencil, and a good effect, but they are wholly free from that formality and stiffness, which, too frequently, render portraits of horses and dogs an offence to the eye of taste. These possess attractions as works of art. This artist has "70-Portrait of a brace of Pointers," and "68-Of a Black Horse," which, each, have much merit. Oct. 8, 1834.

P.S. The three Birmingham newspapers, having every honourable motive and local advantage, with the pictures immediately under their eyes, to stimulate their exertions, have, no doubt, strenuously and impartially advocated the native genius in this splendid display by their townsmen. The close of this annual triumph over anti-modern prejudice and the vested interests of ancient art, terminates my critical observations on its merits. But, if the exhibition were to remain open for a twelvemonth, and my health permitted, I would be happy to continue these notices to the best of my humble ability, solely to keep the subject of British art alive in the public mind. If I did no good, I might hope to do no harm. In page 199 of "The Analyst" for October, I gave ten lines to "133The Moorish Tower, called the Geralada," by D. Roberts; in page 200, twelve lines to "19-Throwing the Casting Net," by J. R. Lee; and in page 201, ten lines to "159-Francis the First and Francois de Foix," by D. Mac Clise. My notes were penciled in the rooms, on the 11th of September, the day the exhibition opened, and the day after. I have learned that those three paintings have been since sold, at the highest prices in the list of sales. The magnificent Moorish Tower sold, according to report, for 250 guineas; Throwing the Casting Net for 120 guineas; and Francis the First and Francois de Foix for 250 guineas. These prices have been involved in much unaccountable mystery, which has produced a doubt of their amount, and I do not vouch for the correctness of mere report. I have not any reason or knowledge whatever to presume that the three amateurs, who purchased these superb British works of art, did or did not, read my critical commendation of them in "The Analyst." I will, moreover, rashly venture, from mere surmise, without any evidence, to say I think it rather probable they did not. But, even assuming this mere surmise for a fact, still it is pleasant to think if my commendation has had no share in promoting their sale, it did not write them down. It is an encouragement to proceed in future, to find that the most liberal and judicious have concurred in opinion with mine; and very satisfactory to learn that my high sense of those three admirable performances has so speedily been followed by a public confirmation. This agreement may, perhaps, entitle my general estimate of British excellence to some additional consideration; and it is in this latter useful view only that the circumstance is here noticed. W. C.

REVIEWS OF PRINTS AND ILLUSTRATED WORKS.

"Forget-me-not; a Christmas, New Year's, and Birth-day Present, for MDCCCXXXV." Ackermann & Co., Strand.

Ten plates, exclusive of a graceful inscription-piece, embellish the present volume of this favourite annual. They are executed with extreme elaboration and delicacy, though we can, scarcely, place them on a footing with some of the productions of former years. We are inclined to apprehend that the passion for exquisitely-wrought engravings of album-size, which sprung up with the Annuals and grew with their growth, has deteriorated the general excellence of these very charming bijoux, not merely by giving rise to showy and inferior imitations, the offspring of the blackand-white school, but by raising beyond the power of supply, the demand for the works of the select few whose burins have, fortunately, attained a fashionable notoriety. A popular engraver, overloaded with commissions, has but one resource, and that is to avail himself of the talent of his assistants; a few brilliant strokes of his own are imparted to the plate in its latest stage, and it is given to the world with that sure passport to the admiration of the multitude, the signature of an admired artist. This practice, enforced by the blind veneration for "name" which is ever paramount with the million, accounts for the striking variety in style and execution obvious in the plates ostensibly from the same hand: this variety is apparent in all series of prints by very favorite engravers, and is, therefore, evident in the embellishments of the Annuals. The "Forget-me-not" has, usually, been conspicuous for its graphic excellence, an excellence commanded by the liberal spirit of its projector, and the happy emulation created by rivalry—that keen spur to improvement. The volume before us is highly attractive both in the designs with which it is enriched, and the literary portion of its contents; prose and poetry are, as ever, judiciously and pleasingly intermingled, and many bright and rare gems glitter in the fair chaplet which the talented editor has interwoven for the gift of affection: here it is, however, our province to refer to the prints only. The presentation plate represents a starry corruscation, surrounded with a garland of flowers; the luminous place in the centre is devoted to the inscription; the idea is graceful and charming, and the effect is extremely fortunate. "Diana and Endymion" form the subject of the first plate; it is painted by J. Wood, and ably engraved by C. Rolls; the design is pleasing, but a little stiffness in the attitude of the hunter-goddess, and a lack of that divine beauty in Endymion which, breathing of immortality, allured from her celestial abode the fair Queen of Night, take something from the spell of the scene; we might also suggest a degree of heaviness in the figure, and of constraint in the position of Endymion; the grace, the youthful majesty, and the impassioned loveliness which ought to distinguish this favorite of Jupiter, did not, apparently, beam on the canvass of the painter. There is much elegance in the group of little loves who, attending the enamoured Selene, gaze with smiles upon the sleeping youth. A slight want of vigour and brilliancy is perceptible in the print. The second plate offers a scene in the beautiful isle of Madeira; it is most felicitously executed by E. Goodall, from a drawing by W. Westall, A. R. A., and abounds in picturesque features. "Aunt Lucy”—a courtly and bewitching belle of the last century, attired in masquerade robes, with a vizard in her right hand; the figure is finely drawn by H. Wyatt, and most exquisitely engraved with a fine and brilliant line, by C. Rolls: unquestionably "Aunt Lucy" is "the flower of them a'." Grey," from a picture by that original-minded artist Cattermole; this interesting little scene represents a gallant soldier wooing his fair cousin, an artless, handsome village maiden, in a romantic spot sheltered from unfriendly eyes: the girl appears to listen well-pleased to her lover's suit, her head is half averted, and her pitcher, brought to the mill-stream, stands neglected by her side; one objection we find to the sentiment of this simple courtship-can Mr. Cattermole inform us why he has stationed the soldier-lover on a bench while the damsel stands before him-surely a gallant wooer would have sprung forward to meet his mistress on her appearance, or had she risen from the seat would have disdained to recline thus indolently upon

"Mabel