BRITISH INSTITUTION.—THE ANCIENT MASTERS-
THERE is less than usual to strike the eye in a first sight of this Exhibition. The attractiveness of a picture-gallery depends in the
first instance on colour, and in a secondary degree on light and shade. Some people indeed profess to care for nothing but the thought or sentiment of a picture, and wholly to disregard the form of expression or language. But it may be doubted whether in this they do not deceive themselves,—whether the matter is every- thing to them and the manner nothing. Still more doubtful is it whether, if they accurately represent their own feeling on the sub- ject, they derive any pleasure from a picture which they would not enjoy in a greater degree from having the same sentiment ex-
pressed in words. It is certain, however, that these people are few in number. The majority are very sensible how differently the imagination is affected by different modes of expressing the same sentiment, and it may be taken for granted that the form is an essential ingredient of Art. The absence of so ma- terial a quality as colour is therefore a serious hindrance to the full effect of a painting. And although with the splendour of Giorgione, the impetuous magnificence of Rubens and the soberer charms of Teniers and Metzu, the Exhibition cannot justly be said to lack specimens by famous colourists, yet the ab- sence of all but one or two of the great Italian masters cannot but produce a chilling effect, and a regret for those broad masses of bright and harmonious colour by which they so effectually attract and engage the attention. Not that the Exhibition is without in- terest, or that, viewing them separately, the pictures are deficient in that power of appropriate expression without which the loftiest ideas or most elegant fancies cannot make a perfect picture. If (as might possibly happen) a cursory view has produced any such impression, a little attention will effectually remove it.
The small collection of specimens by early Italian painters which hangs in the middle-room is good of its kind, but possesses more of antiquarian than artistic interest, or at least it is likely to find most favour with those who consider Art from a historical point of view. Putting out of the question "The Madonna and Child," by Margaritone, who never emerged from the conven- tional thraldom of the Byzantine school, and can scarcely be reckoned among the professors of that Art which was revived and set on its way by Cimabue, Giotto, and their immediate successors, there is a stiffness and incompleteness in the modes of expression wielded by these early artists, which, however intense the feeling which struggles through the imperfections of execution, and how- ever direct and uninterrupted the pedigree that connects them through years of regular improvement with later masters, yet in feeling separates them from their more accomplished successors by an impassable gulf. We look on the works of the former as students of history tracing the gradual development of Art, but the works of the latter seize on our minds and stir our imaginations ; we are no longer critics, but only admirers. In strong contrast to the devoutness and religious senti- ment exhibited by A. Mantegna, L. di Credi, and Ercole da Ferrara, is the study of the merely external in the "Man of Sorrows," by Cima da Conegliano, and the "Head of Our Saviour," by Antonello di Messina. In this latter every hair is painted, but the type of head is ignoble, such as he might have seen in Flanders, whither he went to acquire Van Eyck's improved method of oil- painting. Compare Murillo's treatment of the same subject (115).
From these to Giorgione, though the time is short, the step measured by difference in artistic treatment is immense. The Venetian was indeed at all times distinguished from other Italian schools by its greater attention to effective management of colour and of light and shade, and in this direction none gave greater promise, few performed more, than Giorgione. The "Musical Party," from the Lansdowne collection, is too well-known to need detailed description. Much as it appears to have suffered by time in loss of freshness and delicacy, hastily as in parts it appears to have been originally painted, its splendour and massive composi- tion make it an example all the more instructive, because it is so natural and free from the appearance of artifice. With such a reserve of strength and dignity what might not Giorgione (who did so much) have achieved, had not an early death cut him off from the refinement that comes with more advanced age ? There is a fine portrait of a Boy with a Racket," by P. Veronese, in his best manner. "The Marriage at Cana," attributed to the same master, is a coarse copy by an inferior hand of the great picture in the Louvre. Two small pictures of saints, by A. del Sarto, intended apparently for mural or monumental decoration, are remarkable for tender and harmonious colour. "St. Mark's Square, Venice" (46), is a more than usually pleasing picture by Canaletto. And the large "St. John," by Bassano (the elder ?) is conspicuous for its rich colour and chiaroscuro, and by a com- parative dignity of treatment not maintained in the master's later years.
The Dutch school is far better represented than the Italian. It is impossible to imagine anything better of their kind than the "Gentleman Writing a Letter" and the "Lady Reading a Letter," by Metzu. The subjects are just such as, in the hands of a good artist, give an impression of cultivated ease--oteunz cum dignitate, but in the hands of an incompetent one are utterly insipid. Metzu's treatment is perfect ; the colour of one is remarkable for richness, the other for delicacy. They are painted with delightful facility, and finished without either stint or affectation of labour. Absolute mastery of the brush and a determination to view the subject as a whole have here produced their proper result. Some French artists of the present day ap- proach the same success. Without the thorough training which used to be secured by apprenticing young artists to approved masters, the works of Teniers would be of little value. With it, and with a keen perception of the beauty of gray light, he makes agreeable pictures of subjects which but for those qualities would hardly give much pleasure. In him it is the consummate art that we admire. Admirable also is the manner in which Jan Steen treats the homely subjects of the "Drained Cask" and the "Pancake Girl." In the former picture especially the grandeur and continuity of outline should be observed, and the unexpected grace thereby given to materials of little promise. " Rembrandt's Mistress" is a prominent but not the most pleasing picture in the middle room. It has nevertheless a wonderful appearance of reality.
Of portraits by Rubens and his famous pupil Vaudyck there is a goodly show. Rubens and his wife appear twice,—once as peasants, and again with their child in their proper characters. The Duke of Marlborough's picture is a gorgeous piece of florie painting, quite characteristic, one is fain to think, of the mag- nificent knight who looks so prosperous and happy. Among the many Vandyck's "Dudley, Lord North," is the most striking ; a noble head, stamped with "senatorial dignity," and painted with rare union of tenderness and strength. Of the rest, "James Stuart, Duke of Richmond," and "Charles I." are most notice- able. The "Portrait of a Lady," by Dirk van Hmrlem (82), and the "Marquis of Montrose" (48), by Dobson, a now little-known artist, should not be overlooked. Vandyck's " Assumption " (16) is a most dainty bit of colour—like a blush-rose.
The Dutch landscape painters must be shortly noticed. Thelarge- ness and simplicity of Ruysdael may here be seen in several good pictures. These qualities chiefly distinguish him from his pupil Hobbema, who could imitate his master's palette, but not his treat- ment. In the "River View," by Vander Capella, there is a sky of unusual truth, breadth, and beauty. The skies in "A Village Festival," by Teniers, and in "A Hawkink Party," by 1Vouver- mans, are also spacious and good. "A Landscape with Cattle" (106), by Cuyp, is a beautiful specimen of his sunlit atmosphere and simplicity of treatment. In the former quality he excels anything by Claude here exhibited. Claude and Greuze are the only French names in the catalogue. By the last named there is a very brilliant girl's head (79).
The fame of the English school of portrait painting still depends mainly on the honoured names of Reynolds and Gains- borough. It is a rare thing to see a Reynolds so fresh in colour as Lord Cadogan's picture of three gentlemen in a library. It looks as if painted in the reign of Victoria, only our present portrait painters would hardly condescend to the trouble of making the bookshelves do such excellent service. There is a good Hoppner (164), yet another "Lady Hamilton," by Romney (one of his best), and a family picture by Hogarth, very curious as a repre- sentation of manners and customs. Within these five years it ha been discovered that Crome was a great landscape painter. In his own time he was probably too naturalistic to please the general taste. Constable demolished the old superstition about landscape painting, and now Crome's merits are acknowledged.
His "Sea-shore, with Boats" (159), is very beautiful in its simplicity, its just proportions, and silvery light. Another " Landscape" (136) is also a simple bubject grandly treated. It is surprising indeed to find how with all our present running after " Nature " we are beaten by our 'elders fh this quality of simplicity. Wilson rarely failed'to attain it. Look especially at 144. P. Nastnyth was a closer student' of natural details, but
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