HOW TO LOOK AT PICTURES—A VISIT TO THE WORKS OF

THE OLD MASTERS..

le is astonishing how much we lose in the enjoyment of intellec- tual pleasures, for want not merely of knowledge, but of reflection; and that, too, in the case of persons with not vulgar minds. This is particularly remarkable in the instance of that class of enter- tainments which address themselves to the senses,—as though the gratification of the eye or the ear indisposed the mind to activity. 'Yet if we sought these pleasures with the true Epicurean feeling, we should refine our sense of them by the aids of knowledge, and at least give them our undivided attention for the time. Though people are apt to consider serious thought too great a labour in any thing that concerns their amusement, they are prodigal enough of crude speculative opinion. Now, although it is an error to sup-

pose that it requires technical skill to enjoy the sight of a fine picture, it is equally wrong to imagine that the indolent and super- ficial gaze of the lounger will suffice to appreciate a fine work of art. The same degree of observation which we exercise in admir- ing a beautiful face, a graceful form, a fine head, or a delightful prospect in nature, will make us acquainted with the same objects in a good picture, and we shall admire the imitation in proportion to the fidelity with which it is delineated. But there are also :other points to be considered, which require knowledge and re- flection as well as attention,—such as the degree of merit in the artist's imitation; the quality of his art ; to determine whe- ther his skill be simply mechanical, or accompanied with a more -delicate perception of the beauties of nature, and a poetic taste ill the treatment of his subject ; or, in the instance of an historical picture, to appreciate the painter's power of draw- ing, his taste in colouring, the originality of his conception, the felicity of his invention. These require a knowledge of the re- sources of the art, and a familiarity with its productions, as well as an understanding of the picture and the subject. The value of the judgment exercised of course depends on the taste and intelli- gence of the individual. But the point we wish to establish is, that any intelligent observer, by the steady exercise of his senses, will discover in a picture all that is beautiful, as far as the scene represented is concerned; that by the very practice of this obser- vation, he will acquire a sufficient acquaintance with pictures to create a relish for works of art; and if he possesses taste, and will be at a little, pains to understand the way in which pictures are produced, he will attain knowledge sufficient to make his love of them productive of all the delight that a picture is capable of con- veying. The artist, it is true, looks at pictures with different eyes; but he is apt to regard themechanism more than its results; at any rate, it is not necessary to be a painter in order to appreciate a pic- ture. Pictures are not painted for painters, but for those who are -not. The cant of connoisseurship disgusts sensible people, and has tended to make them despise the art of looking at pictures. Pedantry is the bane of knowledge ; but it has no necessary con- nexion with it. The ostentation of learning is often used as a screen for ignorance; and is still more frequently an indication of 'barrenness of mind. GOLDSMITH, describing Sir JOSHUA REY- woLDs, when pestered with these prating cognoscenti, says- " When they talk'd of their Raphaels, Correggios, and stuff, He shifted his trumpet, and only took snuff.' REYNOLDS did not treat BURKE so when he spoke of painting. Be listened to the philosopher, knowing that he would discourse upon the end of painting, not of the means. Sir JOSHUA learnt much more from BURKE than he from Sir JOSHUA. The painter could talk of his art, which BURKE did not want to learn: but the philosopher could . conceive, and paint to the mind, imaginative pictures more gorgeous than the painter, great as he was, could present to the eye. What was it that gave value to the writings of Hendee. on pictures P—not the technical knowledge of the art which he acquired as a student, but his acute discrimination, and the profound and imaginative view which he took of the theory of art and of the subject. His love for painting was strengthened by his knowledge, but his taste was refined by intellect.

We counsel our readers to visit the British Institution in Pall

Mall, and test the justice of our opinion. Let them walk through the rooms, using the Catalogue as a reference, not as a guide; and looking attentively at the pictures that strike their eve, they will be surprised to find how their interest will be excited, and how the beauties of the *times will grow upon them. Many which do not at first attract will be found well worthy of regard, and more so perhaps. than those which captivate the senses on the instant. They will, in fact, become acquainted with the individuals repre- sented in the transcendent portraits before them. TITIAN has portrayed the gallant Surry, one of our earliest poets, in the splendid tournament dress, embroidered all over with

true-lovers-knots, in which • he wcoed the fair Geraldine. There

are several other fine heads, though of unknown persons,—for instance, a grave old English courtier, by PARMIDIANO ; a solemn ecclesiastic, by SEBASTIAN DEL P101SIBO, the painter of the grand

picture of the "Raising of Lazarus," in the National. Gallery ; the likeness (we are sure it must be a true one), of a singular-looking man, with a mild shrewdness of clialacter, and. a, quaint set of

features, by PARIS BOR DONE ; and an old man's head,. by REM- BRANDT, looliing like life, audits fresh as if painted yesterday. But

perhaps the grandest and most imposing portrait of all is that of

the Emperor Claudius, painted by TITIAN, in his broad and bold manner : it is a profile view of the face, with a bronzed complexion, like the portraits by GIORGIONE ; and gives us a very vivid im- pression of the real character of the man, although it was painted from a bust. There is a portrait, by VA NDYKE,, of the Marchesa Spinola ; a vain and pretty woman, in a stiff dress of crimson silk; with a sweet little girl clothed in a livery of purple and gold. The portrait of Charles the First, strutting like a drum-majors and looking over his shoulder, with his elbow thrust out at the spec- tator—an attitude VANDYKE was too fond of—is an indifferent copy ; perhaps painted at the time, but certainly not by VA.NDYKE himself. There are two or three good portraits by Sir JOSHUA REYNOLDS; and two of himself—one a slovenly sketch, flashily coloured—the other, better painted, but not a pleasant likeness. Artists seldem paint their own portraits well : they sometimes flatter themselves, as LAWRENCE did, but oftener run into the other extreme; and commonly affect a grand look, which spoils the character of the likeness.

Having looked attentively at these and other portraits,—not passing by the family group by VET..ASQUEZ, every head in which breathes life, and is full of individual character,—the visitor will, we feel assured, conclude with us, that the charm of the old portrait-painters is real, and not factitious; and that it consists in the exact truth of their resemblances, and the patient skill with which they elaborated their works. Knowledge, power, and feel- ing for nature, are strongly evident in them—every touch seems to have brought them nearer to the reality. There are not many historical or poetical pictures in.this collec- tion; nor is it rich in the works of the Italian schools of painting— the most imaginative of any. There is, however, a picture, by SALVATOR ROSA, called "The Discovery of Pythagoras," which is a fine example of his elevated style, the- poetic feeling of whieh supports the dignity of his design. A view of Tivoli, by this great genius, represents a wild and lovelyscene, with a mountainous distance and a broken foreground, and the temple crowning the rocky precipice, like order rising out of chaos.. Oaeof Wiesosis poetic landscapes, the Niobe, is hung as a companion to it; and it is worthy of the honour. There are several of this picture, and this is not the best. WILSON" had not the mind of SAL VATOR or of NICOLO PO USSIN, and his inability to draw the human figure placed him at a great disadvantage he comparison with these two mighty painters of epic landscapes ; but he was- a truly greet landscape-painter, and merits his appellation of "the English Claude.' N. Po LTSSIN'S classical compositions, of which there are two or three fine specimens, are somewhat cold- and crude in co- lour, and French in style; but his drawing, and the elaborate taste in which he arranges his draperies, show the accomplished painter. Of Mueieeo, who painted Madonnas and peasant boys with equal sweetness and beauty, here are two pictures, full of human interest, and characterized by his simplicity of treatment and unaffectedly natural style,—the Infant Christ in the Temple, and the Miracle of the Loaves and Fishes;. the latter only a sketch for a larger picture; but there is enough in it to gratify the mind.

A little picture by RUBENS—an allegory of tbe Horrors of War—is a rich specimen of his lavish clewing. The St. Martin Dividing his Cloak with the Beggar—which he does in a most gallant and ostentatious manner—looks like the work of his pupils ; though it affords a (rood idea of RUBENS'S style of paint-

ing large pictures. It has always been customary, as it is at this day, for painters to employ their pupils to copy their pictures ; and this accounts for the number of duplicates and even triplicates of

celebrated pictures ; all of which are styled originals, and may by courtesy be considered so, since they were produced under the

eye of the master, who in most cases touched upon or corrected them; but still, the difference in the copy, to any one who has seen the original, is like that between a ray of light and its re- flection. • We have not space to enter upon the merits of the Dutch pic- tures; nor is it needful, for the truth of the imitation makes their

merits cognizable at sight. The minute and often disgusting fidelity of the Boors Of OSTADE, TENIERSiand-JAN SrzEN,-and their merry-makings—the exquisitely finished miniature pictures of MIERIS, TERBURG, GERARD DOUW, METZU, &C.—RUYSDAEL'S moist, green landscapes, with waterfalls, and his old brick arches overgrown with weeds—Honnuun's farm-houses and woody land- scapes—VANDERNEER'S moonlight scenes—the marine views -of VANDERVELDE and VANDERC APELL A—WATERLOO'S rich and faithful woodland scenes—are in no danger of being 'passed over. CUYP'S brilliant effects of sunlight, which envelop as in a haze Of luminousness' the objects. in his pictures, bespeak the gusto as . - well as the skill with which this most delightful of the Dutch, painters depicted nature. The very cattle seem conscious of the • luxurious warmth of the atmosphere.

Our own GAINSBOROUGH has a charmingly natural picture of rustic girl carrying a pan of milk : - the Tuddy cheeks and little ' dirk bead.like eyes are very characteristic. There is also one of is sketchy pictures of a• shady nook, with a cottage overgrown -with trees ; and a coast scene, painted in his rapid and loose but natural style. Here is one of BONINGTON'S richly coloured and brilliant coast-scenes,—the very opposite of GAINSBOROUGH'S, yet equally like nature; and also one of Ca.nanErri's broad, cool, clear, and vivid views in Venice,—the reality of which is injured by the mechanical manner in which the water is indicated. CA- NALETTI, by the way, never painted one half the pictures that go by his name. His manner of painting is generally considered hard • in its force : we have seen an undoubted work of his—a view of Westminster Bridge during its erection—which, for tenderness of tone and aerial distance, is equal to CLAUDE or TURNER. There is nothing harsh or mechanical about it ; but it is

" Light touched with softening hue ;"

the gradations of light and colour are extremely delicate.

But we must break off; leaving the subject with " Slow, reluctant, amorous delay."

We must first, however, commend to the especial notice of our , readers a delicious picture of female innocence by GREUZE, and a St. James, with two boys, by ANDREA DEL SARTO. This last will enable the uninitiated visitor to form an idea of the best works of the Italian School ; and if in the general design and execution of the picture, and the expression of the faces, he finds nothing to . admire, we should despair of his ever being able to enjoy the sight of a fine picture.