FINE ARTS.
THE FRESCOES AND STATUES IN WESTMINSTER HALL.
THE artists of England are now on their trial in Westminster Hall be- fore judges appointed by Royal commission; the public being the jury. The issue to be decided is neither more nor less than this—is British art worthy of national patronage? The evidence brought into court is not all that might have been produced, nor the best ; but the decision will mainly rest upon what is before the public : and with that alone we have to do.
The coup-d'ceil on entering is very striking : a double row of sta- tuary, extending the whole length of this noble hall, divides it into two galleries ; the walls are hung with fresco and other kinds of mural paintings, placed on a level with the sight, with the new cartoons above them. The effect of this combination of sculpture and painting is agreeable to the eye ; and the array of works of art is imposing. Bat "'Tie distance lends enchantment to the view: "
on close inspection the feeling of exultation gradually yields to one of disappointment. Grandeur and originality are wanting, knowledge and skill are not abundant, and there are more indications of painstaking than of power. We cannot spare room for a detailed criticism, and must be content with briefly summing up the results.
As regards design, no additional proofs of talent are afforded either in the frescoes or cartoons. The score of cartoon-drawings may be at once dismissed as unworthy of consideration ; and we regard the fresco and other paintings only with reference to the degree of success attained in using the material.
MACLISE has been completely successful in fresco. His specimen is the best. The Knight (74) is a group of whole-length figures, life- sized, representing a knight armed cap-a-pie, taking leave of his weep- ing lady-love before setting out to the wars : his squire is fastening his armour, and through the arched doorway appears a troop of steel-clad warriors. The painting displays the masterly power and facility of MAcuses draughtsmanship, and his free, certain, and vigorous handling ; demonstrating his perfect command over the new material : the metallic reflections of the armour are lustrous, and the colouis bright without gaudiness. As a picture, it has the same faults and merits that distinguish the oil-paintings of this clever artist ; but we are now speaking only of the execution. An unfinished specimen by J. R. HERBERT bangs in the vestibule, and testifies his mastery of fresco. Two Heads of Priests, (66,) by W. DYCE, full of character and expression, and evincing thorough know- ledge of the true principles of art, are forcibly painted, though some- what opaque in colour: the flesh-tints partake too much of the brown hue that prevails in most of the specimens ; showing the difficulty (at least to tyros) of getting pure and fresh carnation-tints in this medium. In The Mother, (17,) by JAMES ARCHER, and a Head of Alfred, (36,) by HAROLD JOHN STANLEY, the flesh-tints are well managed : Mr. ARCHER'S colouring is particularly bright and fresh, and his handling free and vigorous. RICHARD RKDGILLYR shows considerable power:of execution in Loyalty, (51); as also does S. A. HART in The Parting of Sir Thomas More and his Daughter, (60); though the latter is vulgar in style. A Landscape and Figures, (5,) by AUGUSTINE AGLIO, is bright in colour ; but it is a species of art fit only for tea-gardens.
Of the twenty-one artists to whom prizes were awarded for cartoons, sixteen have essayed fresco ; including two of the three who obtained the premiums of three hundred pounds. The Meeting of Jacob and Rachel, (53,) by C. W. COPE, is rich and mellow in tone, with very little heaviness ; the Arab complexion of the figures excusing a tawny tinge in the flesh-tints. E. A RMITAGE'S two frescoes (48 and 49) are boldly drawn and powerfully but coarsely painted, with harsh outlines ill-joined ; and the colour is opaque and heavy, the umber hue predomi- nating. He also contributes a group of The Fates, (46,) painted in en- caustic, or rather with a vehicle partly composed of wax ; for the colours are not fused with heat, as in true encaustic. The effect is thin, poor, and flat; the colouring sickly, with lurid reflections. The style of drawing and painting in these specimens is so thoroughly French, that we fear Mr. ARMITAGE has become by his studies in Paris too much infected with the baneful mannerisms of that school to discard it for a more healthy style : the gross gusto, statuesque drawing, and tea-board painting of DAVID and his followers are offensively conspicuous ; while there is neither dignity of sentiment nor elevation of character to redeem these glaring faults. Mr. Werra, who gained the other three hundred pound premium, has not sent a fresco. Among the lesser prizemen, CALLcorr HORSLEY is most conspicuous for chaste simplicity of style and purity of colour. The head entitled Prayer, (9,) is eclipsed by the brilliancy of its border of blue and gold, designed and painted by Mr. OWEN JONES. HORSLEY'S whole-length figure of Peace (63) stands out in bold relief; though the face is flat and the head less striking than the drapery. HENRY J. ToWNSEND has fallen into a fuliginous tone of colour in Puck's Mission, (69,) and the clouds are more solid than the figures; but this fresco evinces mind and power. Messrs. H. C. SELOUS, E. T. PARRIS, W. C. THOMAS, and E. Connouxiii, are among the most successful of the other prizemen.
So far as relates to the ability of British artists to paint in fresco, we think the specimens furnish sufficient proof of their executive skill ; not- withstanding that the broad, severe style of treatment essential to archi- tectonic design is as yet imperfectly understood. Nor can there be a question that the effect of this mode of mural painting is superior to any other in every respect. The competence of the present genera- tion of artists to treat worthily subjects suitable for adorning the Palace of Parliament remains to be determined. We should say that they are more at home in the real than the ideal-that they would depict the forms and spirit of the world they live in better than they could embody the spirit and characters of past ages. In a word, the artists of the present day appear to be deficient in lofty creative imagination.
The sculpture displays no new talent of a remarkable stamp, and but little of that description which is available to the required purpose. Those accustomed to visit the exhibitions will be familiar with most of the statues. There are a few graceful female forms, but no figures of men commanding in presence and grand in style. Intellectual great- ness is not impressed upon the brows of the Bacons, Chaucers, and Newtons; while the Alfreds, Canutes, and Edwards, are deficient in regal dignity. The best are commonplace, tame, and unimpressive effigies ; some are even bodiless and boneless as well as soulless and characterless. In short, the show of statuary is very unsatisfactory.
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