FINE ARTS.
ILLUSTRATIONS OF THE LANDSCAPE ANNUAL.
EVERY year the Annuals seem to steal a march upon us, making their appearance earlier than the last. Michaelmas is not arrived, and hero we have the first fruits of productions whose proper season is Christ. mas. At this rate, by the time they should be in request as gifts of the year, they will have become stale. It is surely bad policy to force these perishable commodities prematurely into the market ; but pub- lishers ought to know best. The Tourist Annuals, to be sure, possess more lasting attractions ; but even as far as they are concerned, time- liness and novelty are not to be disregarded. However, we welcome them, come when they will, while they take such a shape as JENNINGS'S Landscape Annual. ROBERTS has this year stepped from Spain to the opposite coast of Morocco ; half of the views being in each of the two countries, but the remains of Moorish magnificence constituting the leading features of all. It is surprising that a scientific investigation should not have been made into the principles of Moorish architecture, of which there exist so many splendid specimens,all developing beauties of the highest order—lofty and elegant proportions and solidity of construction, united with lightness and sumptuous decoration. The solid square masses of the fortified city of Tetuan, whose embattled walls and flanking towers, reared on the ridge of Atlas, show like a mural crown on the brow of a giant barbarian ; Morocco, from whose level mass of buildings rise frequently the stately Moorish towers, the lofty gates with time graceful horse-shoe arch pouring out time warlike tribes of barbarians, A tabs on horseback, and Moors leading laden camels ; the extensive foltifica- tions of time citadel of Tangier, uniting the vastness of an Indian fortress with the beauty of the Alhambra ; and the city of Constan- tine spread out over the flat summit of a table-rock, rising perpendi- cular from the plain, and isolated from the surrounding heights, except where it communicates with them by a high-arched bridge,—such are the scenes, with the accompaniments of the stupendous chain of Atlas in the background and time gigantic vegetation of the South in the foreground, that the African portion of time views presents to the eye. Some of the architectural details vie in elegance with any that Spain has to boast : for instance, the tall square tower of the Great Mosque, in Morocco, with its delicate tracery ; the horse-shoe arch of the gate of the citadel of Tangier, with its beautiful enrichments ; and the :treaded vestibule of the Treasury in the same structure—a most elegant ex. ample of the spade-shaped arches. The armed population, in their wild and picturesque costume, harmonizes with the antiquity of the buildings, and recalls the times of Moorish chivalry.
In the Spanish portion, the views of Salamanca, and Segovia, with
its aqueduct and ruined amphitheatre, awaken associations of Gil Bias amid Don Quixote. The grandeur of these cities and of Placenzia, raised on elevated sites and adorned with noble piles of building— churches, convents, and bridges ; and the magnificence of the Semi.
nary and Cathedral of Santiago, with its domes, towers, and palaces,
convey an impression of the splendour and wealth of Spain in the days of her glory and pride, very different from what we now picture to ourselves, of that distracted country. In the street scenes, we are struck with the stately aspect of the private dwellings, as well as the noble church towers, which make our steeples look paltry and insig- nificant in comparison. Santa Catalina, in Valencia, an octagonal tower of modern architecture, is a most graceful structure ; though not so light and elegant as that of Saragossa ; which last, by the way, leans SO prodigiously to one side that the monks might preach it up ass miracle. The interior of Seville Cathedral is an example of the sumptuous character of the decoration of modern Spanish architecture: the screen of the choir and the ornamental additions to the high altar are of imposing splendour. The Gate of the Hospice, at Madrid, verges on the extravagant, it is so cumbrously laden with decorative carving: the effect, however, is magnificent and impressive, in spite of its gorgeous excess. We have hitherto regarded these plates with reference to the subjects only, for these are as striking and interesting as the pictures are tame and monotonous. So far as the mere delineation of the objects, they appear correct, and are certainly clever ; but, in pictorial effect, they are, with two or three exceptions, lamentably deficient, being, for the most part, cold, dull, and spiritless. For example, take three distant views of cities and three street scenes : they look at a little distance like the same place, because they are treated in a similar manner. In single subjects and near views of architecture, ROBERTS is always suc- cessful ; but he cannot combine masses or spread out a landscape under one broad, bright, natural effect. Thus, theGrandGate of the Hospic0
. already mentioned is lighted up so as to bring out its enrichments la strong relief; and the Gate of the Serranos, Valencia, appears to bask in sunshine, and the Tower of the Mosque, Morocco, is also a bright and
1,1steg intim e, and the shadows appear transieet and transparent. The sea view of Rebut and Sallee at sunset is calm and glowing, and there is a pretty piece of effect of hazy sunlight in the view of Placenzia; but in this last the foreground is in bright day, while the rest is misty evening. This defect of ROBERTS'S style is the more to be regretted, because it converts grand outlines into commonplace and uninviting pictures. It is but right to state, that more than half the number of views, in- cluding the most interesting, are from sketches by amateurs ; Lieute- nant EDIUDGE, of the Artillery, furnishing five, well-chosen and abounding in architectural detail ; Lieutenant Storm, of the same ser- vice, three very picturesque landscapes; RICHARD Folio, Esq., RS many comprehensive views of cities ; and Colonel HARDING, of the Engineers, the curious one of Constuntine.
The engravings are mostly good, but not so remarkable as to call for particular notice.
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