17 APRIL 1841, Page 19

FINE ARTS.

INFLUENCE OF ENGLISH ART ON FRENCH PAINTING.

WE have received a note from the manager of the Diorama exhibition, in reference to an alleged "false impression" conveyed by the critique on it in last week's Spectator, as to the degree in which Mr. DAVID Ro- BERTS contributed to the effect of the picture of the Shrine of the Nativity. This communication originates in a misconception of the gist of our remarks ; and the information it contains in no degree lessens the force of the argument, that the superior power, warmth, and richness of this dioramic scene is owing to the combination of the talents of an English and a French artist : desiring, however, to let M. RENOUX have the full benefit of the fact mentioned, we willingly give publicity to the statement.

"Mr. Roberts's sketch," writes our correspondent, "had no colouring whatever ; consequently, whatever effect has been produced; the merit entirely rests with M. Renoux, and not with Mr. Roberts." This is a non sequitur : it by no means follows. On the contrary, the effect of a sketch, especially one of an interior seen by lamp-light, might be almost as vividly represented in black and white as with colour ; since it depends upon the artful management of neutral tints to represent the lights and shadows of the place itself, and the chiaroscuro of the pic- torial effect. Indeed, there is as little of actual local colour in the view of the Shrine as can well be in any picture : the effects are produced almost wholly by means of light and shade ; in the skilful treatment of which, the artistic feeling of a painter belonging to a school distinguish- ed for glowing effect in colour and chiaroscuro is strikingly manifest Any one conversant with works of art would recognize the hand of a great colourist even in a sepia sketch : a more vivid sense of colour is conveyed by a fine line-engraving from one of TuzusEa's landscapes than in many a painting by another artist.

The power of French art is shown in the accurate and masterly drawing, and the minute exactness of details, in all that relates to the forms and surfaces; that of British art, in broad effects of light and shade, rich colour, and luminous chiaroscuro: the union of the cha- racteristic excellences of the two schools in the dioramic picture of the Sluine of the Nativity makes the illusion complete. No stronger evidence can surely be desired than the striking contrast presented to this view by the new one of the Cathedral of Auch, which is the pro- duction of M. RENOUX alone and unaided.

It is unnecessary, we trust, for the Spectator to disavow the influence of any prejudice national or personal; yet it may be desirable in this case to disclaim any wish to disparage the talents of a French painter, which it would be equally absurd and unjust to deny, or to exalt the merits of our countrytnan at his expense. The Diorama is a French invention ; and the best evidence of the extraordinary knowledge and ingenuity exercised in this unique and beautiful art, is the fact that the experiments on effects of light necessary to perfect the illusory power, led M. DAGUERRE into the pursuit of those researches that resulted in the wonderful invention which immortalizes his name. But it is no disparagement of the resources of the diorama, or of the skill of the painters engaged, to attribute an improved effect to the use made of a sketch by an English artist. We are far from asserting that Mr. ROBERTS, with all his talent and practice in scene-painting, could pro- duce a dioramic view by himself ; and in pointing out the deficiencies in M. RENOUX'S picture, and comparing it with another work of his own in which he availed himself of the indications of pictorial effect furnished by Mr. ROBERTS, we only drew an inference favourable to the association of English and French art. Our object in so doing was to explain the cause of that rigidity and coldness which every one must have been sensible of even in the views painted by M. BOUTON, and to point out to the proprietors a means of removing the chilling effect.