reward, and with reward snares and penalties. like are the garments, and so innocent of action is every limb. We This Society, which was never in believe that Mr. Jones has been so strong a position as at the present worshipped by a select brotherhood moment, has admitted within the as a designer for painted glass; last year several new Associates, and a certain blurred quality of some of whom will render the execution would seem to suggest gallery more attractive through close connection with worsted-work merit, others more notorious by also. A range of willow-pattern eccentricity. Of the former class plates, again, as a background to we must rank as pre-eminent F. poor Cinderella,' might indicate an Walker, whose two drawings, Spring' alliance with the ceramic arts, and and The Church-Pew,' have become point to a long pedigree stretching prime favourites with all visitors. far away towards the Great Wall of The first of these subjects consists China. Certain it is that we shall of a little girl, who, gathering have to go far enough off before primroses on the confines of a wood, has become entangled in a bush, the interlacing branches of which cover the figure as by a network. The first effect produced on the spectator is that of surprise, and then as in certain works of sculpture, wherein, for example, a man struggles to extricate himself from the meshes in which he is entrapped -it is discovered that the artistic difficulty overcome is of easy mastery. In the present instance the figure, of course, is drawn first, and then, when finished, the intervening branches are pencilled in front. The other topic treated by Mr. Walker a family seated in a church-pewis praiseworthy for quiet, unostentatious qualities, rely ing on accuracy of drawing and a treatment which, to its minutest detail, is governed by intention. We have reserved the extraordinary productions of a new Associate, E. B. Jones, for strong protest. In the name of nightmare, convulsions, delirium, and apoplexy, we would demand to what order of created beings do these monstrosities belong? Ought these figures to be allowed to walk the earth, or shall they, as lunatics, be put in strait-waistcoats and thrust into an we can meet with the prototypes of these singular works. It is, however, just possible that in the remote depths of the darkest of medieval centuries, innocent of anatomy, perspective, and other carnal knowledge, something like these nonnatural figures might be found. And so, after all, Mr. Jones may turn out not quite as original as he would at first sight seem, by these forms so studiously grotesque, by his contempt for beauty, and his persistent pursuit of unmitigated ugliness. Yet on the whole, as witness the Knight,' and 'The Kissing Crucifix,' also 'The Annunciation,' we incline to the judgment that Mr. Jones has surpassed all that ever went before him. We are told that these compositions should be approached with reverence, and we think so; especially the angel Gabriel, who seems as simple and unadorned as any maid-of-allwork. This servant, up in the morning betimes, was sweeping one of the outer courts of heaven when requested to hook on a pair of wings and descend to earth with an errand. We beg to observe that if holy things are here brought to ridicule, the fault is with the painter, not in us. asylum? We are not quite sure, With this egregious exception, however, whether the considerate and with the addition of a few soliartist has not already provided tary examples scattered through against the possibility of harm to quiet neighbours, by binding his incipient maniacs hand and foot, so mighty stiff are they, so shroud other galleries, the much-vaunted Preraphaelite school of figure and landscape painting may be said to be extinct. The pictures and draw. ings of Mr. Hamerton certainly, indeed, show-as did a book, 'The Painter's Camp in the Highlands,' of which Mr. Hamerton was the author decided Preraphaelite and Ruskinite proclivities. These pictorial efforts, kindly submitted to public view under the care of the man "Thursday," must be admitted as every way creditable to an amateur. They, however, by no means induce us to alter the opinion we have long entertained of the impracticabilities of this thankless school. a school which makes of its disciples slaves, and reduces art to drudgery. These penalties, attaching to the carrying out of certain plausible but essentially false principles, seem to have disgusted the leaders of a schism which at one time threatened in its consequences to grow serious, if not fatal. However, as we have said, this eccentric school is now all but extinct. The pictures of Mr. Millais, and even of Mr. Holman Hunt, are naturalistic, and nothing more. The landscape this year exhibited in the Academy by Mr. Brett, an artist hitherto identified with the most ultra of dogmas, is wholly free from extravagance, and may be commended for a beauty which, in the Bay of Naples,' no Preraphaelite spectacles were needed to discover. These and other vigorous men, it is to be hoped, have at length thrown off a bondage which became intolerable to bear. Still it is to be feared that others of the weaker sort have foundered in deep and troublous waters, and will remain for ever lost. Thus less fatally, on the whole, than might at one time have been expected-ends a drama which was put upon the stage with more than ordinary pomp and flourish of advertisement. We have been much pleased with a brilliant series of drawings executed by Mr. William Simpson during a tour of three years through the most renowned portions of our Indian empire. They are remarkable alike for their artistic beauty, their historic truth, and their topo graphic fidelity. We regret that space does not enable us to survey in detail two other Exhibitions, to which, since the close of the International Galleries at Kensington, the English public have been indebted for the knowledge of recent productions of Continental schools. The French and Flemish Exhibition of the present year is chiefly to be remembered by two noble works of the Belgian Gallait; a cabinet picture, great, nevertheless, in genius, by Gerome, the painter of The Duel,' 'The Gladiators,' and 'Phryne;' and a masterpiece by Edouard Frere-small, of course, but choice. To the Scandinavian Gallery, at a moment when the sympathies of our countrymen are directed towards the sufferings and heroism of a brave nation, peculiar interest attaches. Denmark, in literature, science, and the arts, can boast of illustrious antecedents. Thorwaldsen the sculptor, Oersted the man of science, Worsane the antiquary, and Hans Christian Andersen the writer of romance, have given to this comparatively small kingdom no inconsiderable renown in the realms of intellect. And walking into this Scandinavian Gallery, it is satisfactory to obtain ocular proof that genius has not abandoned her favourite shores, washed by the storm-lashed wave. A review of the London Art-Season were incomplete did it not contain some notice of the great mural paintings executed in the Palace of Westminster. Two years since we spoke in terms of more than common admiration of the power and mastery displayed in a vast waterglass painting, twelve feet high by forty-five feet wide, 'The Meeting of Wellington and Blucher after the Battle of Waterloo,' then recently completed in the Royal Gallery by Mr. Maclise. The companion picture, Trafalgar the Death of Nelson,' has engaged the untiring labour of the same artist during the past year, and is now in a forward state. Within the last few months have been put up, in the Peers' and Commons' corridors, the slabs which the admission of Sir Tristram to received on their plaster surface the Fellowship of the Round Table; "The Expulsion of the Fellows of Religion' or 'Faith,' as seen in a College at Oxford for refusing to the vision of Sir Galahad and his sign the Covenant,' painted by Mr. company; Generosity,' extended Cope, and 'The Landing of Charles to King Arthur when unhorsed and II.,' executed by Mr. Ward. We spared by Sir Launcelot; 'Courhave limited ourselves to the bare tesy,' as when Sir Tristram harped enumeration of these works, each to La Belle Isonde; and 'Mercy,' admirable after its kind, in order vouchsafed when Sir Gawaine to leave greater space for the fres- swore on bended knce never to be coes by Mr. Dyce, and the water- cruel to ladies. As an indication glass picture by Mr. Herbert-works of the time and study involved which, long talked of, now on their in these compositions, it may be completion elicit, as they deserve, the enough to state that the first of the warm encomium of the public. Mr. above subjects, the large picture, Dyce was cut off in the midst of his 'The Admission of Sir Tristram to labours, and thus has never been the Fellowship of the Round Table,' permitted to enjoy the honour which contains upwards of thirty life-size years of earnest devotion would figures, each exccuted, after the have amply won. Those who now piecemeal process of frescoe, upon enter, perchance for the first time, something like two hundred slabs the Queen's Robing-Room, in which of wet mortar, each day freshly this artist was immured so long, laid upon the wall to receive the will stand in admiration, not un- painter's colours. A close examimingled with sadness, in the midst nation of this dovetailed mosaic of of works which serve as monu- mortar scarcely reveals the lines of ments to the genius and the per- juuction, so faultless has been the sistent industry of the great painter manipulation of both painter and whose untimely loss we have to plasterer. Neither can the execudeplore. It is a melancholy fact tion be found to betray the haste that the last days of Mr. Dyce were or the incompleteness said to be inembittered by hostile discussions, separable from this fresco method: which arose from the prolonged on the contrary, not only are the elay in the execution of these ar- heads fully mature in expression, duous compositions. During the but even the accessories of chain last days of Mr. Dyce's life, it was armour, sword-hilts, and horses' our privilege to see him here in the trappings, have been pronounced in midst of his pictures, palette in hand. elaborate detail. Taken as a whole, His health evidently had been we incline to think that these noble broken, and the feeling which arose and deliberate works may be acdominant in our mind was, not that cepted as a fulfilment of those santhe painter had done so little, but guine hopes which some years since rather with thankfulness we rewere entertained when fresco was joiced he had been enabled, encom- still in this country a tempting but passed by difficulties, to accomplish untried experiment. It were, so much, and that so well. We re- course, too much to say that these visited this chamber a few weeks pictures equal the master works since, and the subjects with which executed in the same material by its walls are decorated now lie again the great artists in Italy. In some before us in a series of photographs points, however, they will not be taken from the frescoes themselves. found to suffer by comparison, at The theme allotted to Mr. Dyce was least with any of the modern rethe legend of King Arthur, in illus- vivals in Europe. In colour they tration of the virtues of chivalry; are certainly less crude than and the subjects already carried out German frescoes, and in outline are 'Hospitality,' as exemplified in less severe and hard. The style is, of after Mr. Dyce's accustomed man- tion. ་ approach the rulers and the congregation of the people with wonder and dismay. The figure of Moses, the personation of a law given amid thunder and lightnings, stands the centre of the composition. Around him, some retreating back through It remains that we should notice awe, others drawing near by fellowthe great water-glass picture by Mr. ship in office, are grouped the LeHerbert, which has been received, vites and princes of the people, as it deserves, with a favour wax- Aaron and his two sons, Nadab ing to furor. Some ten years ago and Abihu, Joshua, his father Nun, Mr. Herbert accepted a commis- and Eleazar, Caleb the guide of sion to prepare designs for a the camp, and Miriam, the singer series of paintings to be executed and prophetess, kneeling, her timon the walls of the Peers' Robing- brel lying on the ground. Above Room. The theme committed to rise the heights of Sinai, beneath his charge was Justice on Earth, stretches the valley in which the and its development in Law and tribes of Israel are seen encamped. Judgment, subjects commencing Such is the subject of this grand with Moses bringing down the composition, occupying the entire Tables of the Law,' proceeding by end of the room, a space upwards intermediate steps to The Judg- of twenty feet in length by ten ment of Solomon,' 'The Visit of the in height. As a work of art, variQueen of Sheba,' and ending with ous excellencies are worthy of 'The Vision of Daniel.' Other note. The composition is symmeevents are included in the series, tric and equally balanced. Moses, which, if ever completed, will con- crowned by a nimbus traversed sist of no less than nine composi- with radiant horns, is made the tions. The first of these only is centre or culminating point, and finished, Moses bringing down the all subordinate or accessory figTables of the Law.' We read in the ures encircle or radiate from him, 34th chapter of Exodus, that "it the hero of the scene. The colcame to pass, when Moses came our is varied, but not decorative; down from Mount Sinai with the serious, as befits the subject, with two tables of the testimony, that out being austere. The light is Moses wist not that the skin of his luminous to the last degree more face shone while he talked with the radiant, indeed, than in any fresco Lord. And when Aaron and all we can recall; qualities, no doubt, the children of Israel saw Moses, in great measure dependent on the behold, the skin of his face shone, painter having covered the wall as and they were afraid to come nigh a preliminary with a coating of unto him." This is the moment white paint. For detail, also, we selected by Mr. Herbert. It will must concede that this work, exbe remembered that, for the sake of ecuted in water-glass- a process dramatic action, Leonardo, in the which admits of retouching and composition of his 'Last Supper,' endless elaboration - goes far bechose the time when Jesus said, yond the comparatively broad “One of you shall betray me.” For a sketchy manner which usually conlike reason - that is, for the purpose tents the rival method of fresco. of attaining variety in action and in- This power of expressing the minuttensity of expression-Mr. Herbert est of facts has by the painter has seized the situation indicated in been turned to good account: not the text, when Moses, having been only does he reproduce the Oriwith the Lord forty days and forty ental turban in its richness and nights, his countenance radiant variety of colour, but he is enwith light and glory, fills at his abled at the same time, in his - figures, to mark the anatomy of every limb, and in the faces to work out delicate traits of expression. Speaking generally of the style, we should say it is more naturalistic than academic or ideal. Yet at the same time the work maintains a naturalism which, by its nobility, is delivered from the degradation which Horace Vernet and others of the French school brought upon sacred art. The frescoes of Mr. Dyce we have desig nated as pertaining to the style academic. The treatment adopted by Mr. Herbert is in great degree free from any such traditional restraint. Thus his picture becomes, as we have said, in the best sense of the word, naturalistic- that is, it seeks after forms realistic, yet at the same time noble, truthful, and beauteous; and herein art and nature are, in the end, shown to be one and indivisible. In fine, taken for all in all, Moses bringing down the Tables of the Law is the grandest and most satisfactory mural painting yet revealed in this country. We have here, indeed, a signal example of high historic art, in the best and truest sense of the terms. We had hoped to have concluded this article with brightening pro spects for the future. We had thought that the Report of the Royal Commission, recommending bold reforms in the Academy, would have been followed by immediate and salutary results. But from the notorious incapacity of the present Government in the department of public works, and from the feeling now strong in the House that every plan propounded by the Ministry demanding supplies for the erection or purchase of public buildings must be nothing else than a weak compromise and a job, the wellgrounded hope that the Academy and the National Gallery were about to be put in a position worthy of a great nation has been once more frustrated. Melancholy is it thus to see the arts in this country ever made the sport of faction, the victims of ignorance and incapacity. By a capricious__and ill-considered vote of the House of Commons the well-considered scheme of the Royal Commissioners is rendered, at least for an indefinite period, absolutely nugatory. And thereby the Academy is now again under a premium to maintain existing abuses in fullest force, in order to raise still higher the price to be paid by the nation as the consideration for imperative reforms. |