didicisse fideliter artesEmollit mores, nec sinit esse feros.
"The Italians commonly call a taste for the fine arts, or skill in them, by the name of Virtue. They term the productions of artists objects of virtue; and a person who has a taste for such things is denominated a virtuoso, that is, a virtuous man." Such is the language of the Edinburgh Review, in commencing an article on a recently-published translation of Lanzi's History of Painting in Italy, in six octavo volumes—and what a delightful relief is this from the party declamations which usually occupy so large a portion of that "critical journal." But this is not singular, for it is now no uncommon thing to see a large letter column of a newspaper, and a similar proportion of a printed sheet published at twopence, alike occupied by "the Fine Arts."
Patronage, royal and noble, has already achieved much for painting, and even the reported project for a National Gallery does much to foster the art. It keeps the study afloat and uppermost in the public mind; and the immense increase of exhibitions, not only in London, but in provincial towns, serves to prove that patronage now consists in something more substantial than tutelar notice, and unpaid promises. Artists need no longer journey to the metropolis to find sale for their works, for their genius is nourished on its native soil by the liberality and good taste which abound in the neighbourhood of every important town in the empire. It may be as well to keep up the hue and cry about the folly of portrait-painting, if it be only to keep down the vanity of wealth; but the munificent rewards which painters receive for this branch of their art will enable them to devote a greater portion of their leisure to higher studies. Their taste will not thus be impugned; for Cooke, the actor, is known to have entertained the meanest opinion of his own performance of Richard the Third, as an historical portrait, notwithstanding it was the corner-stone of his fame. We do not invite the comparison; but Mr. Hayden began with history—his want of patronage is well known; he then tried portraits—but his want of success was reserved for the style of his Mock Election pictures, and, in all probability, they will turn out the philosopher's stone for his future life.
But it is to the splendid union of Painting, Engraving, and Literature that much of these beneficial effects may be traced. In every branch of the fine arts and literature, what a powerful influence will this triple advancement produce. Only compare the topographical works of Mr. Britton with those of his predecessors—his highly-finished line engravings, excellent antiquarian pieces on wood, and erudite descriptions, with the wretched prints and the quaintnesses of old topographers—or even with the lumber of some of our county histories. With this improvement, and that of map-work, painting has comparatively but little to do; and yet how evident is the progress of the literature of these works.2
It would be easy to adduce hundreds of instances of the recent union of painting and engraving. About five years ago, a plan was started for illustrating the Bible from pictures of the old masters. Upwards of two hundred of them were transferred to wood-blocks; but the scheme did not repay the ingenious originator—partly from their small size, uncertainty of effect to be produced on wood, and partly from the very cheap rate at which the engravings were sold—the whole series being purchaseable for three or four shillings.3 But a similar design is now in progress on metal, being the idea of La Musée in little. It consists of beautiful outline copies of the great masters, published at so cheap a rate as to be within the reach of a school-boy. Within the present year, also, two series of Views in Great Britain, one of Views in London, and another of Paris, have been publishing at the rate of threepence for each view; and when we see among their artists the names of Westall, Pugin, and Pye, we have a sufficient voucher for their excellence.
A passing notice of a few of the more splendid works of art, (for the above are among the cheap and popular projects of the day,) and we must conclude.
It would be tedious to enumerate even a small portion of the fine pictures which have been engraved during the last two years; the mention of two or three will answer our purpose. Every printseller's window will attest the fact. Only let the reader step into Mr. Colnaghi's parlours, in Cockspur-street, and we might say the spacious print gallery in Pall Mall. There let him turn over a few of the host of fine portraits which have been transferred from the canvass to the copper—the excellent series of royal portraits—and of men whose names will shine in the history of their country, when their portraits shall be gathered into the portfolios of a few collectors. Among portraits, we ought, however, to recollect Mr. Lodge's invaluable collection of historical characters, the originals of which were exhibited a few months since, previous to their republication in a more economical form. The Temple of Jupiter, published a few months since, is perhaps one of the proudest triumphs of the year. Martin's Deluge, too, has lately appeared, and we look forward to the publication of his last splendid picture, the Fall of Nineveh, with high hopes.
In the SUPPLEMENTARY NUMBER4 (published with the present) we have noticed in detail a few of the many superb engravings which embellish the Christmas presents for the ensuing year, as well as their literary talent, by a string of extracts like
"Orient pearls at random strung."
The success of these elegant works has benefited our artists to the sum of twelve thousand pounds, in their preparation for 1829. A fortnight since we mentioned the cost of the plates of the Literary Souvenir to be 100l. and upwards for each subject. Another work, still more splendid, (being nearly double the price,) is under the direction of Mr. Charles Heath, whose masterly hand is visible in some of the finest engraving ever submitted to the world—equalled only by a rival in its first year—one of the best proofs of the patronage these works enjoy. It would be invidious to particularize—but we must mention the transference of two of Martin's designs—Marcus Curtius (in the Forget Me Not) and Christ Tempted on the Mount—as two of the most surprising efforts of genius we have ever witnessed. Our readers need not be told that all the engravings are on steel; and were it not for the adoption of this lasting metal, the cost of half the engravings would exceed that of the whole work: all we hope is, that the public patronage may be as lasting as the metal; then it will be no idle vaunt to call this the march, or even race, of genius. In conclusion, we recommend all our lady friends (who have not done so) to place on their drawing-room table a Print Album, or Scrap Book, to be supported "by voluntary contributions." They may then form a pretty correct estimate of the taste of their visiters; and if taste in the fine arts be a test of virtue and integrity, they may even settle the claims of any two rival aspirants by this fair and unerring method, which should admit of no appeal.
ANECDOTES OF CHRISTINA, THE YOUNG QUEEN OF SWEDEN
Christina was the only child of the great Gustavus Adolphus, who succeeded to the throne of her father in 1632, when she was but five years of age. The young queen, at an early age, discovered but little taste for the society and occupations of her sex. When young, she was capable of reading the Greek historians. At the age of eighteen she assumed the reins of government. Several princes of Europe aspired to her hand; but she rejected them all. To prevent a renewal of applications on this subject, she solemnly appointed Gustavus her successor, but without the smallest participation in the rights of the crown during her own life. During her minority, Sweden enjoyed internal repose, but was involved in a long war with the German empire. She was crowned with great splendour in the year 1650. From this time she entertained a philosophical contempt for pomp and parade, and a kind of disgust for the affairs of state. She invited to her court men of the first reputation in various studies. She was a great collector of books, manuscripts, medals, paintings, &c. In 1654, when she was only in her 28th year, Christina abdicated the crown, in order that she might live a life of freedom. With her crown, she renounced the Lutheran and embraced the Catholic religion. In quitting the scene of her regal power, she proceeded to Rome, where she intended to fix her abode. Some disgust which she received at Rome, induced her, in the space of two years, to determine to visit France. Here
The only place in which they do not progress mutually is the theatre. Look at the scenery of our patent theatres, and compare it with the vulgar daubs even of John Kemble's time. Some of the scenes by Stanfield, Roberts, Grieve, and Pugh, are "perfect pictures." Yet the language of the stage is at a stand, and insipid comedy, dull tragedy, and stupid farce are more abundant than before the "march of mind".
While on the subject of
The engraving is from Prout's exquisite picture of the magnificent city of
