PICTURES AND ARTISTS.
NEW PRINTS.
WHAT between Annuals and Monthlies, Prints are getting entirely periodical; and the appearance of a new engraving by itself is an event of rare occurrence. We have hardly had occasion to notice one of im- portance since we "reported progress" of WATT'S brilliant line-engrav- ing of STOTHARD'S Procession of the Flitch of Bacon. This celebration of an old custom, by the way, seems likely to be revived in right earnest, if the Lord of the Manor of Dunmow, being inspired with a due apprehension of the havoc which the demand for flitches will make in his hogsties does not find some flaw in the charter bywhich happy couples are entitled to the savoury certificate. We trust, however, that in this attempt to "save his bacon," the Lord of Dunmow will not gammon the claimant; but that he will both "kill and cure" his hogs ; for he could not bring them to a better market. The engraving of this picture, of which we spoke some time since, is now quite finished, and deserves great praise for its clearness and pre- cision of line in all but the flesh tints,—some of which are, in our Opinion, too coarse ; partaking of the prevailing defect of the present school of line-engravers. We have not seen the original picture ; but having seen most of these faces of STOTHARD'S before, we may venture to say that the engraver has faithfully copied them. The expression of each is admirably conveyed in the print. It must be allowed that there IS a certain undefinable insipidity and self-complacency in most of them; but the graces of STOTHARD'S style, and the poetic sweetness of his fancies, make us insensible to the faults of mannerism, by fascinating US with their charms. We need not reiterate our objection to the un- real character of this design. It is a vision of the golden age—a scene from an Utopia of goodness and domestic felicity. The characters are imaginary creations of the fancy of the amiable painter, in masquerade. They are not mortals, nor yet sprites; but embodyings of little good- nesses, wearing the semblance of humanity. We cannot be critical Upon the productions of STOTHARD: it would be like tilting with a pen against a fairy race. His genius bewitches us, and we behold his works With other eyes than those that look on every-day scenes. We always feel disposed to apologize for not liking his faults—for we cannot help seeing them. His mannerism is not mechanical, and therefore never becomes disgusting. The "dove-eyed meekness" of his females--their airy forms—and the waving folds of their draperies, as they glide with gossamer lightness over the green slopes of his tree-shaded lawns, With so many graceful turns and pretty glances of their bird-like eyes.-- people a paradise of earth, where reality with its vexations 'Cannot annoy us. His villages are the abodes of peace. His rustics are zephyr. fed. His nymphs are children of fantasy. He sometimes deals with mortal pains as well as pleasures; but the face is merely darkened by the shade of sorrow • a touch of grief changes only the lipeect, not the character of the feel-Imes. The suffering is never phy- sical. It is no more than the transient sadness of a child at the fate of a butterfly that he has killed in the catching.
The Procession of the Flitch of Bacon is a sort of second bridal—a
masque to celebrate the anniversary of the wed&ng ; and a Very pretty pageant it is, with the palfreys, garlands, and picturesque costumes of the group, and the lovely Eng,lislr-looking background,. The horses are rather wooden, but no matter it is not an affair of flesh and blood, but of fancy. The grouping of the figures is very felicitous; and nothing is more difficult to manage than a procession, in this particular. The sight of this engraving reminds us that the famous processional picture of the Pilgrimage to Canterbury, by the same delightful painter, is to be disposed of by raffle, by Mr. Tivrnv of the Strand, who pos:- sesses the work. It is the chef d'auvre of the painter; and we shall envy the possessor. It breathes the spirit of CHAUCER ; with whose genius the fancy of STOTHARD is congenial. It is a graceful graphic version of the poet's description. The Flitch of Bacon was intended as a companion to the Pilgrimage, we believe. Though not of the same size, it is better adapted for a pendant picture than the Shakspeare Characters, though it has not the character and invention of either. The number of subscribers to the raffle will be 125, and the shares are two guineas each, for which each subscriber will receive a copy of the engraving. The picture is rich in colour, and painted with conside- rable power, and beautifully finished. Were we picture-buyers, we would not be content with taking a chance, but make sure of its pos- session at once.
Previous page
