FINE ARTS.

HINTS FOR A REFORM OF THE ROYAL ACADEMY.

IN presenting the following list of artists not belonging to the Royal Academy, we repeat what we distinctly stated last week, that the object is not to show that there are greater names out of the Academy than in it, but that there is a great amount of talent excluded, by reason of its narrow limits. It is equally necessary to premise, on the other hand, that this list does not include all the talent out of the Academy, but only the principal names among the exhibitors of the last year or two—such as are most likely to be familiar to the visiter, and as occurred to ourselves in a rapid glance over the catalogues, to *id our memory. In fact, it is rather a sample of the mass hastily se- lected, than a carefully-culled extract of the choicest names. It is not a list of embryo Academicians, but a specimen of what should form the constituent body of the Academy. The number of painters might be doubled—ay, and tripled. We have ranged them alphabetically under the several classes to which they belong; it not being any part of our intention to set individuals one against another. Such men as BRIGGS, CALLCOTT, CHANTREY, EASTLAKE, ErTY, HILTON, LAND- SEER, LESLIE, TURNER, and WILKIE, among the Academicians, are (HarnoN excepted) unmatchable; but we do not think that there is one name in our list of outs that falls below the Academic level ; while it can boast such names ILS CATTERMOLE, COPLEY FIELDING, HARDING, klAYDON, HERBERT, HURLSTONE, LEWIS, MARTIN, WEBSTER, and WYATT, who are no less honourably distinguished among the excluded. IsTo one will question the right of men of this stamp to be members of the Academy; and there are others in the list of equal merit and scarcely less popular. The DANIELLS, WESTALLS, JONESES, REINAELES, SMIRKES, CHALONS, and Coins, may be paralleled without any diffi- culty; and Sir WILLIAM BEECHEY, and Sir MARTIN SHEE, the Presi- dent, are rivalled—to say the least—by many portrait-painters out of the Academy. And as for such artists as OLIVER, DRUMMOND, Aa- NALD, W. WESTALL, JOSEPH ALLSTON, (who is he?) and "such small deer," they are plenty as blackberries.

PAINTERS OF HISTORICAL AND POETICAL DESIGNS, Academicians. Bell (Z.), Boddington, Bone (R. T. ), Boxall,* Brock. edon, Cattermole, Chatfield,' Clint ( G.), Cope, Corbould, Cristall, Dyce, Freddie, Franklin, Fraser, Guest, Harvey (W.), Harvey (G.), Haydon, Hayter (G.),• Herbert, Hurlatone,* Inskipp, Landseer (C. ), Lewis (John F.), Nash (Jos.), Parris,* Patten,* Pickering, Seyffarth (Mrs.), Sharpe (Miss E.), Singleton, Slous, Stephanoff ( F. P.), Stephanoff (Jas.), Stone,* Von Hoist, Wood,* Wight (J. W.)," Wright (T. M.), Williams (P. ), Wyatt.' These are also portrait.paintere.

Allan, Briggs,' Cook,f Eastlake,' Etty, Hilton, Howard,* Leslie, Smirke, Westall, (R.),§ Wilkie.*

Associates. Drummond, Hart, Mediae, Uwins.

Supernituunted. Since dead.

• These also paint portraits. PAINTERS OF CO3IMON LIFE AND COMIC SUBJECTS.

Academician. Buss, Clater, Cruikshank (G.), Farrier Gill, Hunt,

Mulready.

Associate. gKiiiiteld,,IiI:eabrsicteerr,.Pidding, Poole, Prenfis, Richter, Ripple-

Knight. PORTRAIT-PAINTERS.

Academicians. Boaden, Carpenter (Mrs. W. ), Evans' Faulkner, Green,

Beechey, Phillips, Gordon (Watson), Hayter Hollins, Lane (S.), Picker sgill, I Laurence, Linnell, Lonsdale, Lucas, Middleton, Morton,

Reinagle, Shee. Partridge, Ramsay, Robertson (Mrs. J.), Rothwell, Sass,

Associates. Say, Simpson, Yellowlees. Geddes, Joseph.

PAINTERS OF LANDSCAPE AND SCENIC PICTURES.

Academicians. Allen, Allom, Balmer, Barrett, Bartlett, Bentley, Boys, Burford, Burgess ( H. Vl.), Chambers, Childe, Clint ( A.i, Cooke (E. W.), Cotman, Cox, Creswick, Davis (Scarlett Dewint, Earl, Evans (W.), Fowler, Fielding (Copley), Fielding (T.), Gastinewn Harding, Hilditch, Holland, Holland, Ice, Linton, Mackenzie, Maisey, Marshall, Martin, Moore, Nash , Nesfield, O'Connor, Priest, Prout, Purser, Pyne (J. B.), Roberts, Scott, Shayer, Shepherd, Stanley, Stark, Tennant, Turner (W.), Varley, Vickers, Vickers junior, Warren, Watts, Wilson (Harry), Wilson (J.).

PAINTERS OF ANIMALS.

Academicians. 13arraud, Chalon (H. B.), Cooper (Sidney), Davis Cooper (Ab.), (R. B.), Davis (W. H.), Dearman, Hancock, Hawkins Landseer (Edw.), (Waterhouse), Hills, Landseer (Thomas), Tayler (F.)

Ward. Woodward.

MINIATURE-PAINTERS.

Academician. Barclay, Booth, Bostock, Corbaux (Miss F.), Corbaux I (Miss L.), Cruikshank (F.), Denning, Derby, Durham, Essex, Kendrick (Miss), Lover, Meadows, Newton, Rich- mond, Robertson (A.), Rochard, Ross, Slater.

PAINTERS OF STILL LIFE, FRUIT, FLOWERS, &C.

Associate. Bartholomew, Coils, Harrison (Mrs.), Lance, Lonsdale. Oliver.

SCULPTORS.

Behnes, Burlowe, Campbell, Carew, Denman, Francis, Hefferinan, Henning junior, Hinchliff, Joseph, Legee, Legrew, Leyland, Lough, Macdonald, Moore, Parke, Phy.. sick, Pitts, Rennie, Sharp, Sievier, Ternouth, Thrupp, Timbrell, Turnerelli, Weekes, Westmacott junior, Wyatt.

ARCHITECTS.

Abraham, Allen, Angell, Barry, Basevi, Beazley, Blore, Booth, Burton, Cresy, Donaldson, Ferry, Golfficutt, Grif- fith, Gwilt, Habershon., Hakewill, Hamilton, Hardwicke, Flint, Inwood, Jupp, Kendall, Lapidge, Lugar, Papworth, Penuetborne, Pugin, Railton, Rennie, Rickman, Robinson, Savage, Smith, Smirke (Sidney), Wightwick, Wyatt.

ENGRAVERS—LINE.

Allen, Brandard, Burnett, Cooke, Cousen, Doo, Finden (E.), Finden (W.), Fox, Gibbon, Golding, Goodall, Good- year, Greatbatch, Heath, Humphreys, Jeavons, Le Keux (H.), Le Keux (J.), Miller, Pye, Raimbach, Robinson, Rolls (C.), Rolls (H.), Shenton, Stewart, Smith, Wallis, Watt, Wedgwood, Willmore, Worthington.

CHALK AND STIPPLE.

Agar, Dean, Fry, Holl, Lewis (F. C.), Mote, Possel. white, Ryall, Scriven, Thompson, Woodman, Woolnoth.

METTOTiNTO.

Bromley (James), Bromley (Charles), Cousins (Samuel), Cousins (H.),

Turner. Oilier, Hodgetts, Lewis (C. G.), Lucas (David), Lucas

(John), Lupton, Phillips, Quilley, Ward.

LITHOGRAPHIC.

Lane. I Barnard, Baynes, Childs, Fairland, Gauci, Gibe, Highs, Hammerton, Harding, Lear, Morton, Picken, Scharf, Sharp, Taylor, Walton. Calleott, Col. line, Constable, Daniell, Jones, Stanfield, Turner. Associates. Arnold, Chalon, ( J. J. ), Danby, Lee, Withering- ton, Westall (W.) Chalon (A. E.) Academicians. Bally, Chantrey, Rossi, Westmacott Associate. Gibson.

Academicians.

Cockerel', Smirke, Soane, Wilkins, Wyatt-. vale.

Associates. Deering, Gandy.

Associates. Fittler, Graves, Landseer (John).

The engravers muster an overwhelming array of eminent names, although we have omitted many of great merit. Indeed, the en- gravers, as they justly complain, are rather insulted than honoured by the connexion of their art with the Academy. They are not eligible to the title of R.A. ; and only six of their number are admitted Associates. Among these will not be found the names of Bomar, Doo, FINDEN, Fox, GOODALL, PIT, RAIMBACH, ROBINSON, and WATT. These eminent line-engravers petitioned the House of Com- mons for that investigation into the state of the art of engraving which Mr. EWART'S Committee afforded, with a view to show its neglect by the Government and its degradation by the Academy. The evidence relating to this subject has been republished lately in a separate pamphlet, prefaced by a brief account of the connexion of engraving with the Royal Academy. We must candidly admit, that highly as we regard the usefulness and beauty of the art of engraving, and much as we honour the skill and talent of its most distinguished professors, we do not rank it with painting and sculpture. The engraver is a translator ; he does not originate ideas; be cannot therefore compete with the painter and sculptor, who study from nature. Yet while the very nature of his art limits the exercise of his skill to the imitation of the works of others—for the exceptions prove the rule—its difficulty mid importance are not to be undervalued ; nor is the talent of the artist who can render colour, the texture of flesh, &c. and the expression of a painting in a black and white print, to be regarded as unworthy the honours bestowed upon flower-painters, enamel-painters, coach-painters, die-engravers, chasers, each of which classes has been admitted to the Academy. Unquestionably every branch of art ought to be recognized ; and the high state of perfection to which wood-engraving has been brought in this country, eminently entitles its professors to admittance to the Academy. STRANGE, W01.- LETT, and SHARPE, three native engravers of distinguished talent, whose works vie with the finest of other countries, were excluded from the Academy, while its laws were evaded to admit BARTOLOZZI, an Italian engraver, who was not a painter, in which character they pre- tended to recognize him. A list of the "great unknowns " who have at various times been rewarded with the diploma of the Academy, would be a pretty set-off to those of the really eminent men whom it as rejected or excluded. We have a sample of them in this pamphlet of the engravers : in addition to a " coach-painter," there is one TYLER, a " bricklayer "—so called by BARRY in his letter to the Dilet- tante Society. This fondness of the Academy for men of small talent is quite in keeping with their treatment of great artists. Their quar- rels have always been with men of genius,—ex. gr. REYNOLDS, BARRY, TRESHAM, WEST, WILKIE, HAYDON, and MARTIN. Surely these could not all have been in the wrong.

But we should never have done, were we to pursue the tortuous windings of the intriguing policy of the Academy. Their conduct since BARRY and flavoosi have shaken its walls with their catapults, exposed their dirty tricks to the light, and brought public opinion to bear upon their acts, has been very different. Their recent elections, especially, have shown that they felt the necessity of "putting their house in order." The latest-elected Associates are MaciasE, Haar, UWINS, KNIGHT, and GIBSON ; and if they elected GeAvEs the en- graver, it was because they had no more eminent candidate. The one grand change required to be made in the Academy, is to open its doors to the body of artists; as .Mr. CLINT suggests, "en- larging the numbers, and doing away with the Associates altogether." The witnesses who have given an opinion upon the matter are unani- mously in favour of a constituency : indeed it is obviously the basis of a public institution. The points to be determined are—bow is it to be formed, and what should be the qualification ? In the first instance, a constituency would require to be created by an arbitrary act of a com- mission, that might be empowered by the King to select from the whole community of artists a considerable number of men of established re- putation, as a nucleus : the embryo thus formed would then constitute a committee, together with the members of the present Academy, for drawing up the laws and regulations of the new institution, to be ap- proved of by the Royal Commission, and then put in force for the completion of the constituent body. This would necessarily possess a self-elective power; but, supposing it to consist, as Mr. HAYDON expects it would, of six hundred members—for there should be no limi- tation—and being made responsible to the Government for its acts, there would be little to fear in the way of injustice to individuals. The qualification should not be so high as to include only eminent talent : the mass of artists by profession, possessed of a fair share and repu- table amount of skill, should be eligible ; the object being, in the first instance, to unite the artists in one body. Messrs. HAYDON, MARTIN, and RENNIE suggest, that an exhibiter for three successive years should be qualified. The election should be by ballot, and might vest in the Council of Director.; one-third black. balls of the whole number of the Council being required to exclude. Mr. HAYDON suggests a council of twenty-four—we should say forty: they would be elected by ballot, of course, from among the entire constituency ; and one-fourth should go out annually. Mr. HAYDON is for abolishing the distinction of R. A.—we would not do this, but make it a merely honorary distinction, conferring no power, and bestowed by the suf- frages of the constituency. The Council should be the only execu- tive; to which Academicians and ordinary members—the term Asso- ciate being no longer odious, might be used—should be eligible, in the proportion of one-half, perhaps, of Academicians. The number of Academicians ought to be limited, in order to give increased value to what would then he an honourable and covetable distinction, though it would confer no exclusive privileges : but the honour should be be- stowed by the body without the application of the individual himself; who would, of course, be proposed and seconded. But it is prema- ture to enter into details ; and the columns of a newspaper are not the place to discuss them. The objects of the institution being first defined, it should be constituted in such a manner as would best adapt it to its end.

As regards instruction, tine Academy should be a college of art, not an elementary school. The rudiments, the mechanical parts of the art, would be best learned in private of a master. The Academy should not rob its members of the benefits of taking pupils. The in- struction to be afforded by the Academy should be for the most part theoretical, or of the higher class of practical knowledge. Above all, it should not be gratuitous : if it be worth having, it is worth paying for; and to be worth having, it should be purchased, though at a cheap rate. Professors might be appointed, and paid partly by fees partly by salary, so as to give them a personal interest in drawing pupils together Their lectures should be of the nature of demonstrations, deducing

from models and specimens general principles : and of course there _ would be examinations, followed by prizes and certificates. Sir J. D. PAUI. offers an admirable suggestion to this effect : see Evidence,

Part II., Q. 2067. There would also be, as now, competition among the students in their respective departments ; the merits of each to be decided upon by committees of artists, limited to professors of each particular branch of the art; with a public exhibition of the perform- ances. To prevent the competitors from deriving the benefit of others' assistance, each one should execute his work in a separate studio, as is done in the French Academy. These crude suggestions are thrown out for consideration merely. We may venture to predict, however,

that with an Academy so constituted, the Universities would not re- main long without Professorships of the Fine Arts being established, in addition to provincial Schools of Design. Drawing would then be- come a necessary branch of elementary education in national, proprie- tary, and private schools. The upward pressure would elevate the arts in this country to an eminence corresponding with the intellectind power of the nation in poetry, philosophy, and general literature. The profession of the arts of design would be raised from its present de- graded condition as the slave of luxury, fashion, and self-love; we should no longer have to complain of a want of imagination oa the part of our painters and sculptors. Practical knowledge would sharpen the perception and refine the taste of the purchasers of works of art ; and correct drawing and harmonious colouring would be as essential a requisite in an artist as good grammar and composition in a writer. The " painter's eye," or the faculty of discriminating the niceties of .form and colour in objects, is as common a gift of nature as the ear for music ; and cultivation is equally necessary to the due development of one as the other: when the many who enjoy become enlightened, the few who cater for their gratification must needs become still more so. Art in this country requires improvement at both ends—both root and branch is defective. Too many artists of the present day are deficient in the grammar of their art, as well as in intellect and fancy. Many a vivid conception of the mind is feebly brought forth, or proves abor- five, for want of a vigorous and a well-organized frame. How can the soul of genius be manifested without a fitting body for its habitation ?