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vV‘. . “ lllrL ji k, r> H;iK/ . vS ; :V.vr* 'ir'iixvi HMwil - ; : - ' ;i - : ■ V;:^: §|| \& >-:'V if- . 'A&&X -. K9m$mmm0 mMmmmmmim ■ •' ;>iK»rr **■;,* ’^V- 'S’ -: :.-■ tiMflMfe '■.rjjr - -"■: .'3:,;. - ; . ■• --vi *e? s& SSKrv^ . kV N * f . , V' 'v f ■ ■ ' ' ‘ : ./- ■-■ ; .- - - + ^ ?: k-iki V. : ?v 4 <nsV« V >:v* I. .?g -: 5 C - ••*>•3 ’hife': 4 'Kiiv.i*: /:• ■ : ■ , >:;"\?v ; , ■' ; .. r v '5. « . ::- Ai - •$Vi;.y :• ' S inglP 'Sffc - S ,M ;; viOT fj ' ht* •r.:S.“fe.-i»:»i.-f*i. x-uf '>'■•?£ NHi;x.-: : > : ;,-n. iw ■•; ;-f • ■' ' ■ . - - . . ■ i ■ v . v'.. "• •- ' V .rv, •; •• • =,.4. ? : Ti •§§ '■ . . ■- : W NEW SERIES. f VOLUME VI. j ■■ ~ i ART-JOURNAL MB ills ■ ' : '.I' ' ' 11 £nv?Jgrajiirej<a^ f,l| r/j/jiSisesfSdiESPJiLTiLrti iizriSjjtrisp.n'Tti ,y Dlii' U IIIiHIII’t I llll! Illi ' i 1 1 ' 1 ! 'I,'; I r. VI E N R V i' L 1 N T 0 N 1 Sc.' JAMES S. VIRTUE, LONDON; AND 26, JOHN STREET, NEW YORK. LIST OF ILLUSTRATIONS. ENCRAVINGS FROM THE ROYAL PICTURES. 1. UNA 2. THE LADY CONSTANCE 3. LIBERATION OF THE SLAVES. I. VIRGIN AND CHILD 5. THE MISERS 0. THE COW-DOCTOR 7. ST. CATHERINE 8. BLINDMAN’S BUFF 9. THE OMMEGANCK, AT ANTWERP. 10. THE LADY DIGBY II. THE PENNY WEDDING 12. PEACE 13. THE WIFE OF RUBENS 14. THE ROYAL PRINCESSES: Children or George 15. HENRIETTA OF ORLEANS 16. KILLARNEY: THE LOWER LAKE 17. THE ROCK AT ST. HELENA .... TAINT ER3. ENGRAVERS. W. E. Fbost, A.R.A. . P. lightfoot. Winterhalter .... . T. Vernon. 11. Le Jeune . C. H. Jeens. Carlo Maratti .... . J. Tourny. Q. Matsys . H. Bourne C. Tsciieggeny .... . C. Cousen. Domeniciiino .... . F. Knoll e Wilkie . IF. Greatbach Baron Wappers . IF. M. Lizars Van Dycic . A. J. Annedouchc Wilkie . IF. Greatbach J. Drummond, R.S.A.. . F. Lightfoot Rubens . J. Be Mare. Copley . R. Graves, A.R.A. Mignard . R. Bourne M. Anthony .... . R. Wallis. P. Delarocue .... . C. W. Sharpe PACK . 4 . . 20 . 3G . . 48 . 68 . . 88 . 100 . . 108 . 142 . . 172 . 184 . . 396 . 236 . . 260 . 292 . . 332 . 360 BEARING TIIE CROSS Raffaelle. MADONNA DI SAN SISTO Raffaelle SIMPLICITY Greuze GOING TO  DIDO BUILDING CARTHAGE. 2. BACCHUS AND ARIADNE. 3. RAIN, STEAM, AND SPEED. 4. PEACE : THE BURIAL OE.WILKIE. 5. THE OPENING OF THE WALK ALL A 6. A COUNTRY BLACKSMITH. 7. APOLLO KILLING THE PYTHON Engraved by E - Goodull  Stocks, J.h.A. . . 180 . 208 . . 22S . 2GS . . 298 . 310 . . 361 1. CAUACTACU3. 2. CHASTITY .... 3. GANYMEDE 4. READING .... 5. PREPARING FOR THE BATH (j. MEDICINE .... 7. PAUL AND VIRGINIA. 8. THE CRADLE. ENCRAVINGS FROM SCULPTURE. scui.rrons. . . J. H. Eoley, R.A.. . . . J. Durham. . . E. S. Bartholomew . P. MacDowell, R.A.. . . J. Gibson, R.A. . E. HXunel. . . . J. Durham . Mrs. Thornycroft ENGRAVERS. PACK W. Roffe . 56 . . 116 J. R. Raker. . 150 R. A. Arllett. . . 216 W. Roffe . 276 G. Stodart . . 316 J. R. Baker. . 348 R. A. Arllett. . . 370 CONTENTS. Amsterdam Crystal Talacc, 21, 50 Aniline Byes, 30 Apollo killing the Python, 304 Architects’ Institute, 03 Architectural Exhibition, 158 Architectural Museum, 377 Architectural Photographic Association, 95 Architecture of the Streets, 319 Architecture v. Painting, 308 Art-Decoration by Females, 70 Art in Continental States : — Amsterdam, 21, 56 Antwerp, 80, 232 Berlin, 21, 151, 268, 300, 377 Bordeaux, 232 Brussels, 112, 190, 268, 339 Compiegne, 216 Copenhagen, 21 Dresden, 21, 300 Florence, 216 Ghent, 80, 112 Leipsic, 339 Liege, 216 Lille, 339 Lisbon, 216 Mexico, 56 Milan, 339 Munich, 86. Nice, 190 Novogorod, 232 Paris, 21, 56, 112, 151, 190, 195, 232, 268, 339 Home, 268 St. Petersburg, 151 Vienna, 21, 56, 86, 300 "Weimar, 86 Art iu the City, 273 Art in the Provinces : — Aberdeen, 54 Birmingham, 54, 152, 307 Bolton, 30S Bradford, 2S0 Bridgewater, 94 Brighton, 94,* 248, 332, 384 Carlisle, 364 Chester, 30S, 304 Cork, 24 Coventry, 364 Devonport, 364 Dorchester, 21 6 Dover, 378 Dublin, 24, 94, 189, 216, 248 Dundee, 54 Durham, 152, 308 Edinburgh, 54, 94, 112, 286 Exeter, 308 Glasgow, 24, 152, 24S, 307, 338 Gloucester, 364. Ilalifax, 285 Leeds, 54, 190, 308 Lichfield, 248 Lincoln, 54 Liverpool, 24, 54, 152, 306, 332, 350 Manchester, 24, 54, 72, 112, 190, 248, 305 Newcastle-under- Lvue, 189 Norwich, 54 Oxford, 24 S Plymouth, 308 Portsmouth, 24 Sheffield, 112, 216 Shrewsbury, 63 Southampton, 54, 94, 364 Art in the Provinces Spilsby, 308 Stourbridge, 54 Taunton, 248, 364 Tunbridge Wells, 2S6 Wolverhampton, 189 Worcester, 54, 63 Artistic Copyright, 126 Artists’ and Amateurs’ Conversazione, 62, 191 Artists’ Benevolent Fund, 190 Artists’ General Benevolent Institution, 30, 159 Artists’ Orphan Asylum, 30 Artists, Personal Recollections of: — Callcott, Sir A. W., 99 Lawrence, Sir T., 284 Turner, J. M. W., 10 Art-Museums, Suburban, 350 Art-Season, The, 265 Art-Union of Dublin, 249 Art-Union of England, 62, 253, 2S6 Art-Union of Glasgow, 307, 33S Art-Union of Great Britain, 222, 249, 319 Art-Union of Ireland, 248 Art-Union of London : — Annual Meeting, 189 Premiums for Works of Art, 62, 318 Prizes, 253, 268 Report for 1S59, 36 Art-Unions, Shilling, 24, 54 Aruudel Society, 133, 299 Assyrian Antiquities, 48 Aston Flail, 54, 223 Bacchus and Ariadne, 208 Baxter’s Patent Oil Pictures, 191 Birmingham Society of Arts, 152, 307 Blindman’s Buff, 108 Bloomfield, Monument to Bishop, 126 Botany in the London University, Chair of, 285 British Artists : — Ansdell, R., 233 Cox, D., 41 Dobson, W. C. T., 137 Dyce, W., 293 Reynolds, Sir Joshua, 357 British institution, 77, 213, 377 British Museum, 62, 318 Bronze Coinage, The New, 161 Burial of Wilkie, 268 Cabinet, An extraordinary, 351 Canada, Fine Arts in, 208 Canadian Railway Bridge, 318 Caractacus, 56 Caricaturists and King Cruiksliank, 228 Carpets for India, 378 Cellini’s Medals, 300 Chastity, 116 Copyright Act, 159 Coral, 55 Correspondence : — Camera Obscura, 339 Coral Rock Pavements, 157 Female School of Art, 61, 111, 214, 317 Exhibitions of English Pictures, 11 1 Ilardingc, Foley’s Statue of, 215 Lawrence, Sir 1'., 317 Nude, studying from the, 362. Paintings of Religious Subjects, 110 Royal Hibernian Academy, 245 Ruskin’s Modern Painters, 339 Wroxeter Excavations, 362 Cosway and Shcrwin, 97 Country Blacksmith, A, 340 Cow-Doctor, The, 88 Cradle, The, 370 Cremorne, The Stereorama at, 350 Crystal Palace : — Art-Union, 55, 189, 318 Ceramic Court, 30 Egyptian Products, 348 Fine Art aud Stationery Court, 349 New Arrangements, 126 Picture Gallery, 63, 253, 265 School of Art,* 159, 221, 319 Diaries, De la Rue’s, 378 Dido building Carthage, 180 Digby, The Lady, 172 Dresser, Dr., 30, 158 Drinking Fountains, 113, 372 Dubliu Academy and the Government, 245 Electricity, New Applications of, 95 Electric Telegraph Map, ] 27 Elkiugton’s Silver Plate, 95 Ellison Bequest, 214 Encaustic Tile Works, Benlhall, 316 Engravings, Sale of Valuable, 181 Exhibition of 1S51, Memorial, 63, 95, 158 Exhibition of 1862, 93, 158, 191, 221, 253, 287 Exhibitions Amateur Painters, 182 Ancient Pictures, 287 F'aed’s Pictures, 377 French Pictures, 125, 1 84 Frieud’s, Washington, 222 Great Western Terminus, 12 Hayward aud Leggatt’s, 299 Photographic Society, 63 Rosa Bouhcur’s Scenes in Scotland, 184 Ross’ Miniatures, 15S, 183 Strawberry Hill Portraits, 94 Wallis’s Gallery, 169 Fabrics, Non-iufiarnmable, On rendering, 35 Female School of Art, 61, 62, 94, 111, 158,190, 214, 221, 253, 287, 317, 350, 37S Findeu’s Royal Gallery of Art, 127 Flags of England, 117* Flaxman Gallery, 221 Fop Artists: Sherwin and Cosway, 97 Fresco iu Lincoln’s Inn Hall, 39, 191 Fuseli at Somerset House, 1 34 Gallery of Illustration, 2S7 Ganymede, 150 Glasgow Architectural Society, 249 Glasgow Art-Union, 307, 338 Glasgow Cathedral, 152 Going to Labour, 248 Graphic Society, 30, 126 Greenwich Hospital, Picture for, 2S7 Guards’ Memorial, 254 Hampton Court Palace, 53 Harvey, Drawings by G., 287 Hemans, I'elicio, 95, 190 Henrietta of Orleans, 292 Hermits and Recluses of the Middle Ages, 1? Hogarth, Assumed Sketches by, 30 Ilolyrood Palace, Public Fountain at, 54, 112 Horticultural Society’s Geometric Gardens, 191 Hospital for Consumption, 03, 191 CONTEXTS. Yil Houses of Parliament, 20, 139, 190, 228, 254, 349, 351 Hudson (The) from the 'Wilderness to the Sea, 5, 49, 81, 101, 145, 209, 241, 269, 301, 333, 365 Hunt Testimonial, 287 Indian Geometrical Designs, 37, 205 Ink-boltles, Parian, 379 Ivory Sculptures, Triquctti’s, 222 Kaulbach, William Von, 177 Kensington Museum : — Architectural Museum, 30, 126, 321 Coningham’s “ Observations,” 3 17 Lecture on Pottery, 29 Lectures on Botany, 11 National Pictures, 24, 377 New Sculptural Works, 253, 350 Parliamentary Grants, 221 Picture Gallery, 62, 350 Regulations for Admission, 29 Report of Commissioners, 275 Robinson’s Catalogue, 254 Water-Colour Drawings, 214 ‘‘What it has done,” &c., 225 Kcw Gardens, 222 Killaruey : the Lower Lake, 332 King’s College Soirde, 63 Lady Constance, 20 Laing, Bust of I he late Rev. D., 319 Langham Chambers Society, 62, 125, 350 Last Hours of the Puinters : — The Flower- Painter’s Death. 69 Leslie and his Contemporaries, 330 Leslie, Sketches by, 29’ Liberation of the Slaves, 36 Liverpool Society of Arts, 152, 306, 332, 350 Lombardy and its Capital, 65, 129 Londesborough Antiquities, 140 Luther Monument, 283, 347 Macaulay, Funeral of Lord, 63 Manchester Academy of Arts, 24, 303 Manchester Art-Gallery, Proposed, 72, 11 2, 191 Manchester Art-Treasures Exhibition, 54, 62 Mediaeval Manners, 45, 238, 314 Medicine, 316 Men of Promise: Procter and Deare, 193 Misers, The, 68 Moou, Stereograph of the, 234 National Gallery : — Alterations, 1 90, 350 New pictures, 61, 94, 123, 151, 231 National Institution, 109 National Portrait Gallery, 61, 125, 159, 221, 232, 349 Nelson Column, 158, 2S? Niepce de Saint Victor’s Experiments on Light, 29 Nollekcns in Mortimer Street, 33 Nude, Studying from the, 191, 207, 245, 362 Obituary: — Anthonv, G. W., 10 Barry, Sir Charles, 190, 199 Chalon, A. E., 337 Decamps, A. G., 308 De Grey, Earl, 9 Dc Mercey, M., 339 Foggo, J., 337, 372 Geefs, J. J., 200 Graves, F., 9 Hersent, M., 337 Ingram, FI., 337 Jameson, Mrs., 127, 157 Landells, E., 337 Leigh, J. M., 200 Ross, Sir William C., 72 Scharf, G., 372. Stephanoff, F. P., 191, 200 Stone, F., 9 Ward, J., 9 Woodman, R., 47 Ommeganck at Autwerp, 142 Organ- Screen, Renaissauee, 159 Oxford Museum, Sculptures for, 24S Panoramas : — Continental Cities, 378 Rome, 191 Venice, 63 Papier Miichd, Ceramic, 112 Parliamentary Art-Proceedings, 2S9 Parliamentary Grants for Art-purposes, 253, 318 Paul and Virginia, 348 Peace, 196 Penny Wedding, 184 Photographic Apparatus for the Prince of Wales, 222 Photographic Association, Architectural, 95 Photographic Pictures from the Old Masters, 379 Photographic Portraits of the Prince of Wales, 253 Photographic Portraits of the Royal Family, 222 Photographic Printing, 29 Photographic Society, 03, 71, 158 Photographic Views : — North Wales, 126 Palestine, 348 Victoria Cross Gallery, 380 Photographs by M. Albert, 362 Photozincography, 133 Piano-Fortes, Collard’s, 159 Picture Restoring, 195 Picture Sales: — Belvedere Gallery, 246 Bradley’s Collectiou, 215 Briscoe’s Collection, 181 Brunei’s Collection, 181 Hough’s Collection, 181 Ilouldsworth’s Collection, 152 Leicester’s Collection, 215 Leslie’s Collection, 181 Linton’s Pictures, 152 Miscellaneous Collection, 95, 152, 181 Rembrandt, Portraits by, 247 Roberts’s Spanish Sketches, 181 Saltmarshe Gallery, 246 Wallis’s Collection, 351 Wells’s Collection, 181 Woodburn’s Collection, 215 Pictures : — Autumn on the Hudson, Cropsey’s, 198, 336 Cromwell refusing the Crown, Maguire's, 120 Eastward Ho ! and Home Again, O’Neil’s, 223 Ecce Homo! Correggio’s (?) 351 Eva and Strongbow, Maclise’s, 29 Finding of the Saviour in the Temple, II. Huut’s, 158, 182, 222 Incidents ofNoithumbrian History, Scott’s, 94 lufaucy of Jupiter, G. Romano’s, 30 Installation of Napoleon, Ward’s, 29 Jerusalem, Selous’s, 184, 222, 254 Last Judgment, &c., Martin’s, 350 Louis XVI. and his Family, Ward’s, 62 Lucknow, Siege of, Barker’s, 159, 183, 319 Luff, Boy! Hook’s, 222 Meeting of the First Reformed Parliament, llayter’s, 318 Presentation in the Temple, Dowling’s, 351, 379 Prison Window, Phillip’s, 222 Queen at the Tomb of Napoleon, Ward’s, 29 Retreat of SnwarolT, TIess’s, 86 Swansea Docks, Butler’s, 254 Temptation on the Mount, Scheffer’s, 126 War in Italy, II. Cook’s, 29 Wesley aud his Friends, Claxton’s, 222 Pictures rendered Indestructible, 127 Polychrome Sculpture, 369. Polytechnic Institution, 30, 191, 377 Porcelain, Early Italian, 300 Porcelaiu Frauds, 159 Porcelain Works at Worcester, 63 Preparing for the Bath, 276 Pre-Raffaellite Pictures, 159 Pugin Memorial, 287 Raefaklle, An Engraving attributed to, 318 Raffaelle’s Apollo and Marsyas, 268 Raffaelle’s Dispute of the Sacrament, 62 Rain, Steam, and Speed, 228 Ratcliffe, Portrait of Sir John, 152 Reading, 216 Reviews : — Allied Generals before Sebastopol, 32 Amoor, Country, Travels in the, 346 Antiquities, Museum of Classical, 369 Architecture in England, Early Domestic, 22 Armour aud Weapons, Aucieut, 255 Reviews : — Artist aud Craftsman, 351 Artist, The, 32 Auld Lang Syne, 127 Beatrice Cenci, 224 Bengal, Rural Life in, 40 Botany, Manual of, 256 Botany, Popular Manual of, 352 Brighton, Sketch of its Natural History, 192 British Institution, Recolleclious of, 96 Building News, 96 Buonarotti, Michel-Ange, 223 Carmartheu and its Neighbourhood, 380 Caxton showing his First Proof, 255 Ceylon, 31 Chinese, Pictures of the, 128 Christmas Decorations in Churches, 320 Christmas : its Customs and Carols, 351 Chromolithographs, Rowney’s, 256 Clonmel, Stereoscopic Views of, 320 Comparative View of Human aud Animal Frame, 127 Compromis des Nobles, 379 Cook’s Poems, Eliza, 380 Costume in England, 379 Crests, Family, 351 C’romptou’s Life and Times, 128 Crossing the Highland Locb, 192 Cruise in the Pacific, 352 Curiosities of Science, 224 Daedalus, 369 • Darley’s Cooper Vignettes, 224, 320 Day of Small Things, 32 Diseases of the Brain, 255 Dogs of St. Reviews : — Royal Princesses: Children of George III., 260 Statues : — Natural History Illustrated, 260 Royal Scottish Academy, 10, 94 James II., 159 Newton at the Age of Twelve, 192 Royal Scottish Association, 2S6 Joan of Arc, 216 Nursery Playmate, 3S0 Rubens, The Wife of, 236 M'Gregor, Sir J., 287 Nursing, Notes on, 128 Mozart, 56 Painters of Italy, Early, 31 St. Catherine, 100 Mjddlelon, Sir II., 286 Pearls from the Poets, 380 Savoy Chapel, 37S Napier, Sir C. J., 62 Perspective, Elements of, 12S Schools of Art : — “ Religion,” Edwards’s, 287 Pilgrim Fathers, 96 Bridgewater, 94 Stephenson, G., 191 Pilgrim’s Progress, 32, 87, 380 Brighton, 94 Stowel], Lord, 2S6 Pilgrim’s Progress, Children’s, 64 Carlisle, 364 “Victory” at the Tomb, 159 Pilgrim’s Progress, Engraving of, 159 Cork, 24 Watts, Dr., 54, 94 Pioneer of Progress, 379 Coventry, 364 Statuettes, Boryezewski’s, 2S7 Princess, The, 380 Devonport, 364 Stereoscope, Achromatic Mirror, 15S Prison "Window, 351 Dundee, 54 Stereoscopic Pictures of — Queen Sketching at Loch Laggan, 96 Durham, 152 American Scenery, 221 Queen’s Visit to the Wounded Soldiers, 31 Lambeth, 63, 223, 254 Athenian Scenery, 62 Readc’s Poems, 256 Leeds, 54, 1 89, 308 Canadian Scenery, 351 Reliquary, The, 288 Manchester, 112 Etou College Chapel, 379 Restless Sitter, 126 Newcastle-undcr-Lvne, 159 Franklin Relics, 254 Scheffer, Memoir of Ary, 160 Norwich, 54 Windsor Chapel Roval, 254 Scotland Delineated, 31 St. Martin’s, 191, 221 Yorkshire Scenery, 319 Scott’s Novels, 141 Sheffield, 112 Strawberry-Ilill Portraits, 94 Shakspere, Exegesis of, 31 Southampton, 364 Street Scaffoldings, 30 Shakspere in his Study, 32 Stourbridge, 54 Street Tablets, 20 Shakspere’s Dramatic Works, 107 Taunton, 364 Swiss Scenery, 332 Shaksperc’s House, 352 Wolverhampton, 189 “Shall the New Foreign Office be Gothic or Worcester, 54 Table-Cloths, Circular, 254 Classic?” 320 Sculpture, by Capt. Fuller, 223 Temple Church, The, 62 Shce, Life of Sir M. A., 223 Sculpture for Melbourne, 378 Tennyson, Portrait of, 126 Sinai asd Golgotha, 288 Sculpture in the City, 377 Tasmania, Some of my Bush Friends in, 64 Shakspere’s Iloiue, 378 Tombs of British Artists : — Tenby, 352 Simplicity, 134 “The Heavens are Telling,” 160 Sketching Tent, 254 Tourist’s Guide through Gloucester, &c., 256 Snow-Crystal Gas Devices, 30 Tourist’s Guide through Kent, &c., 256 Soane Museum, 253 Tourist’s Guide to Swilzerlaud, &c\, 25G Society for the Eucouragement of the Fine Arts, 29, ’. Trades, Illustrations of, 256 63, 127, 350 Traits of Character, 352 Society of Arts, 125 transformation, 127 Society ol British Artists, 63, 143 Trees, Lessous on, 64 Society of Female Artists, 30, 85 Turner Gallery, 32, 96, 224 Society of Painters in Water-Colours, 94, 173 Victoria Cross Gallery, 15S, 379 lire’s Dictionary of Arts, Sciences, &c., 352 Society of Painters iu Water-Colours, New, 175 Virgin and Child, 48 Uzielli Collection, 28S Sotheby, Mr., 95 Visits to Art-Manufactories : — Vicar of Lvssel, 12S Damask Works, Brown’s, 196 Watering Places in the British Islands, 256 l'loor Cloths, Kindon and Powell’s, 360 Wayside Flowers, 31 Acland, Sir T. D., 308 Tile Works, Maw’s, 316 Whisky Demon, 64 Barry, Sir C., 2S7 Wild blowers of England, 192 Blake, Admiral, 191, 248, 319 Walhalla, Opening of the, 298 Willis’s Sacred Poems, 32 Brunei, 158 Wales, Companion Guide to South, 25, 57, 89, 121, Revolver, Deane- Hardiug, 29 Bunyan, 159 153, 185, 217, 249, 277, 309, 341, 373 Roberts’s Spanish Sketches, 29, 181 Camoens, 216 Wall-Papers, 37 S Rock of St. Helena, 360 Charles I., 159 Waltham Abbey Church, 106 Rome and her Works of Art : — Clive, Lord, 63 Waterloo Medal, Pistrucci's, 350 Raffaellc, 13, 73, 201, 261, 325 Coenr de Lion, 29 Weaving by Electricity, 130 Royal Academy : — Cook, Capt., 319 Wellington Monument, 30 Annual Banquet, 190 Crompton, S., 308 Werner, Carl, 159 Distribution of Prizes, 29 Crosslev, F,, 285 Westminster Abbey, Wax-work in, 21 Election of Members, 94, 125, 221 Eldon, Lord, 286 Exhibition, 125, 161 Franklin, Sir J., 54, 308 Westminster Clock, 254 Female Students, 286 Goldsmith, 159 West, the Monarch of Mediocrity, 321 Hangers, 158 Hallam, H., 254, 287 Wilkie, Early Days of, 236 Increase of Pensions, 61 ITardinge, Lord, 191, 214, 254 Willis’s Rooms, 95 New Building, 61 Havelock, Sir II., 63, 2S7 Wilson in Tottenham Court Road, 1 Publication ot Proceedings, 62 Hogg, J., 254 Woodburn’s Bequests, 287 Reforms, 12, 158, 253 Hooper, Bishop, 364 Wood Carving Works, Cox’s, 53 Report of the Council, 62, 286, 297 Humboldt., 56 Wroxeter Excavations, 3G2 Royal Hibernian Academy, 24, 216, 245 Hunter, J., 221 Wyon’s Medal of the Royal Visit to Canada, 319 THE AltT-JOURNAL. London, January 1, 1860. WILSON IN TOTTENHAM-COURT-EOAD. BY G. WALTER THORNBURY. AUTHOR OF “ ART AND NATURE AT HOME AND ABROAD," ETC. t is a certain August afternoon (three o’clock), 1774, that we see a tall, stout man, with a large, coarse head, and red, swollen features, standing fee- bly and mournfully at a cross- ing in Queen Anne Street, Cavendish Square. It is in this street that fretful Cum- berland, the dramatist, lives; Malone— Shakspere Malone— and Fuseli, the Swiss, will come here presently. The stout gentleman, who we see has a red and blotchy face, wears a rough, neglected wig, with a club tail ; his dress is neglected, his dingy cocked-hat is hind before. It is Mr. Wilson, the great landscape-painter ; he is just come, I think, from his friend, Mr. Wilton’s, up the street. Wilton is a good, dull, portly, courteous man, slightly pompous, and a tre- mendous dresser; and with his gold-headed cane, and powdered bag-wig, as much in manner unlike that rough Welshman, Wilson, as the rout Duke of Richelieu was like an English farmer. He is a very great man, sir ; and what is more, a rich man, and an Academician ! the sun shines on his house, sir, all day through. John- son and Reynolds meet at his table ; and he is the well-known perpetrator of General Wolfe’s monument in Westminster Abbey — a monu- ment which discloses the not generally known fact, that that brave young general fought at Quebec in his shirt and stockings, to set an example to his troops. Everything goes well with Wilton, who is Barry’s great enemy ; and the rumour runs that his pretty daughter, whom Dr. Johnson ponderously flirts with, is going to be married to Sir Robert Chambers, who, with his lawyer’s tongue, is persuading her to go to the East with him. Do you see, as Wilson drops his handkerchief from his ludicrous, red, cauliflower nose, that he asks that smart little boy returning from school to help him cross the road. “ Little boy, let me lean upon your shoulder to cross the way.” The boy — a complete little Tommy-and-Harry boy, with square cut coat, little knee-breeches, a cocked-hat, and a satchel on his back — kindly helps him, with happy eyes, and a pretty flush on his healthy cheek. That boy is John Thomas Smith, one of the most delightful gossips about old things Eng- land ever knew. He will be one day a clever artist, and a pupil of Nollekens ; will die Keeper of the Prints in the British Museum, and will tell this story thirty years hence in one of liis pleasant jurobles of books. THE ART-JOURNAL. I tell you what poor Wilson is going to do : he is not going back to that sorrow-stricken garret of his, crowded with unsaleable land- scapes, in Tottenham Street, Tottenham-Court- Road ; but he is going, by appointment, to the rope-walk avenue of elms, in Union Street, to meet Baretti, the Italian, Johnson’s friend. They will walk there till Gve — friend Wilton’s dinner-hour — strikes from the turret of Port- land Chapel. Baretti is a short, squat, round- shouldered, purblind man ; and Wilson, you see, is tall and square-built, with a Bardolph nose. They will both pace about under the trees, to get an appetite : Wilson with his handkerchief up to hide his nose ; Baretti, the squat, with his stick behind his back, as if he was tied to it. If there was more time, “ red-nosed Dick,” as the coarser tavern men call him, would be off to his friend, the Long Acre shoemaker, who keeps one window to exhibit his buckled shoes, and the other kindly to exhibit friend Richard’s classical landscapes, which he tries so hard, and generally so unsuccessfully, to sell. To my certain knowledge there is a ‘ Cicero’s Villa,’ and a ‘ Tomb of the Horatii,’ gathering dust there now, just as they have been doing for two months — ever since June, in fact. The broad and free pictures of the “English Claude” do not sell. Sublime they are ; but I don’t know how it is, shoes go much faster than Cicero’s Villas. Wilson, after a glass or two of porter, accounts for it in this clear way : his pictures being deep-toned, require a very strong light to show them off. Now we all know very well that this August has been very rainy and dark ; friend shoemaker shakes his head, and thinks there is no doubt about it — that is how it is ; so think Mrs. Shoe- maker and Miss Shoemaker. But Wilson — the fact is — is rather sanguine and happy to-day, for he won one and two- pence yesterday at skittles, at the Adam and Eve public-house, just out of Tottenham-Court- Road; and he has made an arrangement to go and meet his old pupil Brookes to-morrow, at his favourite haunt, the Earthing Pie-House, in the New Road — the house Price, the salt- box player, keeps. There he can have his pot of porter and toast better than at Sir William Beechey’s grand house, or opposite his ‘Niobe’ at Wilton’s. There he can balance the fourteen- pound ball, throw his “skivers,” scatter the “ dead wood,” or knock down the whole army of pins with a shattering broadside. And another bit of good luck — a more professional bit of luck — is that his friend, Mr. Paul Sandby, a great drawing-master, and one of our earliest water- colour painters, has just sold for him a portfolio of Italian drawings, so that he literally rolls in money (£10), and will have porter and skittles for months to come ; unlimited porter, and abun- dant skittles, to the great, reddening of his nose, and the beneficial development of his biceps. He only gets £15 for a three-quarter picture — heathen gods, Apollo in the clouds, and all ; so £10 is a gracious sum. True, they were Wilson’s finest drawings — the work of his eight or nine years in Italy ; when Zuccarelli and Vernet praised him, and he imitated Marco Ricci, who painted at Burlington House. Why, there was a Raphael Villa, with Wil- son himself in a bag-wig, and that green satin and gold lace waistcoat that he used to attend St. Martin’s Lane Academy in, drawing, seated on the ground. — But there, let it go ; porter is gooa, and skittles are good, and not to be had, either of them, on credit. Ah ! how little he knows that Paul Sandby showed those drawings to half the fops and dilettanti in Loudon, praised them to dozens of noblemen and ladies, but they would none of them ; they wanted high-finished Cipriani Venuses, and could not understand mere clever hints and sketches by a little-known and un- 1 popular painter. So he — kind Paul — bought them for himself. Thou hast had but a sorry life of it, Richard Wilson, thou son of the Montgomeryshire clergyman, lately, making half-crown sketches for the pawnbrokers, in thy Tottenham- Court- Road garret ; there, with thy hard, truckle bed, dirty table, rickety chair ; with thy single brush, thy faithful easel, an empty pewter pot thy only chimney ornament. Every- thing has been going wrong — that makes the present good fortune all the more cheering. How delightful is a blink of sun after a week of November rain ! The Academy does nothing for thee : the chief object of the institution ot that body seems to be the starvation of artists ; for they let great men die in garrets ; and all the world, thinking the Academy tries to dis- cover and protect genius, lets it die unheeded. Poor Dick, as Sandby calls him, he has just been defeated by Smith, of Chichester, who snatched the Royal Society’s prize from him. Wright, of Derby, with his fire-light scenes, and Barret, the dullard, get large prices ; while he has to paint a ‘ Ceyx and Alcyone ’ for a pot of porter and half a Stilton cheese. Ye gods, is this fit ! Barret to get two thousand a year, and Smith, of Chichester, .to carry off prizes, and the great Wilson, the English Claude, almost to beg a dinner ! Why, if you will believe me, it was only yesterday the broken-hearted man went into the Long Acre shoemaker’s, and finding the ‘Villa of Mecamas’ did not sell, he went home and struck off a ‘Celadon and the Nymphs,’ and took it off wet, “ then and there,” to a pawnbroker in the Oxford Road. He was sinking to the savage — to the Pawnee. The sordid wretch, fat and well-dressed, rubbed his hands, looked pleased, and then looked downcast. A pot of porter was sent for, from the Angel and Trumpet, and chirping over his liquor, the broker grew more friendly. Suddenly he rose, this sordid broker, and waving his hand like the warniug ghost in “ Hamlet,” bade Wilson follow him up stairs. Wilson, with the porter wet on his lips, and the picture wet under his arm, followed into a garret full of ‘Villas of Mecmnas’ and ‘ Tivolis.’ “There,” said the broker, with a pitying smile ; “ look ye, Dick, you know I likes to oblige a friend, and have sold ye many a pic- ture for ten guineas, ay, and fifteen ; but look, there they are— all I have paid you for for three years.” I don’t think Wilson said a word as he went down stairs, but pressed the broker’s hand, threw a soiled red handkerchief over the ‘ Villa of Mecsenas,’ and left the house to steal back again to that other barer garret in the lodging on the road to Tottenham. As he leaves, the slam of the door of one of the pawnbroker’s binns sounds to him like the slam of the door of a vault. As the coach disappears, we may pardon the old Adam that prompts him to step into the Angel and Trumpet, and discuss another foam- ing pot of porter. Now he is home in the garret: he unties with his teeth the tough knot in the red Ban- dana, and holds the ‘Villa of Mecmnas’ self- inquiringly to the light. He wants to know why it does not sell, and he “ swears dread- ful,” as the garret servant, who is passing, and hears him “ a-talking to ’isself,” relates down stairs. “A little dead,” he says, “from having been painted on that sort of dark brown 2 THE AET- JOURNAL. priming the Caracci and the Poussins used. Rather a change since I drew this one April morning, 1754, twenty years ago — the day the Duke of Gloucester gave me one hundred guineas down for the ‘ Apollo.’ Ay ! I see it now again : there is the convent of the J esuits among the cypresses ; there was where we had lunch with the three earls and Lord Boling- broke ; that spring on the left is Horace’s Blanausian fountain ; there was his "Villa, behind those trees on the left, where we had our Frontignano and cold chicken.” “Rather a change!” and the poor painter flung himself on his bed, face downwards, and sobbed like a child that has lost its mother. * ***** An hour, and he is up at his easel ; sleep revives us for fresh conflicts with care, as the earth-contact did Antaeus when he fell. Dick’s day will come, he will be great yet ; he feels an angel whispering it at his heart. Yet still it is very dark ; the bit of blue is, God knows, very small : rent due, and only some pound or so to pay it and live on : and then the King re- fusing the * Kew Gardens,’ one of the simplest, purest bits he has ever painted — well ! He gets old too — sixty ; sight not so good, touch not so sure, but effect better. Finish soon — yet still eight or nine years more life in him ; and this ‘Bridge of Narni’ must be finished for Mr. Walch, the magistrate. He works standing, in a cap and gown ; he uses chiefly one stubby brush, and few colours ; he gives the bridge but a few touches at a time, and then goes to the window, and looks out into Totten- ham Street, to (as it were) wash and restore his eye by pure daylight. Sometimes he steps to the furthest corner of the garret, and looks with mournful satisfaction at the picture. Niobe could not be sadder than that widow lady’s poor painter is now. What is the poor Welshman thinking of, as he backs up against the door to look at his picture, and instead of running forward and putting that touch of grey on the tree- trunk, stops there and rests, with his care- worn face and flaming Bardolph nose pointing towards his picture ? He is thinking of all the last year’s insults and vexations : how Zoffany had drawn him in his caricature of the Academy with a pot of porter at his elbow, but erased it when Wilson bought a cudgel, and swore he would break it on the back of the fellow. He is thinking of how that mean cheat, Jones, once asked him to see a large landscape he had painted, when lo ! to his astonishment, what does he see (his porten- tous nose reddening as he sees), but his Temple of Venus up there to the left on a rock. “How — how!” he said, “why, Mr. Jones, you’ve been and stolen my temple ! ” “Is it too dark, sir ? ” says felonious Jones, innocently. “Black as thunder, of all conscience!” said he (Wilson), stumping down stairs, angrily. That very day, too, he had to let down a peg, and leave his noble old rooms in the Covent Garden Piazza. Then the last pang — worst of all : a week ago, when our old pupil, young Griffith, of Lampeter, runs up to tell his old master he has found a rich Welsh lady of his acquaint- ance who wants two good landscapes ; she is below — she will come up. There is a rustle of satin up the grimy stairs, a shuffling about of grimy, lodging-house servants, and, beautiful as a Parisian Venus, smiling like the dawn, in sails the Honourable Mrs. Howell Davis, of Tredegar House, Monmouthshire. Wilson is grand and affable in his painter’s turban and flowered dressing-gown ; Griffith is all anxiety and eulogy : he turns over the dusty stacks of pictures, selects a ‘Bridge of Rimini’ and a ‘ Rosamond’s Pond,’ to show the great man’s two manners ; keeps the Honourable Mrs. — Davis well up by the door, for fear their rough nimble of paint should alarm her. He puts them in proper lights ; he rubs them, sponges them, points out their beauties. All he wonders at— the gay, rich, good-natured stu- dent, pleased to do a kindness — is, that Mr. Wilson seems so little elated; he will not even sparkle up and tell his story of how, when he first saw the great avalanche of water at Terni, he exclaimed involuntarily, “ Well done water, by G— /” The lady is delighted : it took away her breath at first, now she speaks, — “ Wonderful ! marveilleux !” Her broken English is quite pretty. “Does Mr. Wilson never go to routs or dinners ? does he not visit the haut ton ? might she not hope to have her salons honoured by such a genius ?” This is froth ; but she ends by bravely ordering two scenes near Tivoli, at forty guineas each. She must be off — she must tear herself away, for she promised to meet the Miss Lacquers at Boydell’s Gallery at two o’clock; her re- peater has just struck two, and it is to the Strand twenty minutes’ drive. She rustles down, Griffith is following, but a quivering hand detains him. The door slams, the wheels roll away, Wilson sits down on his bed, and drags the kind young beau to a seat beside him. “ Mr. Wilson, are you ill ? — shall I ring for a doctor?” “No, Mr. Griffith,” said the old man, look- ing earnestly into the eyes of his friend, “ I am well, but I must, before you go, tell you that your kindness lias been in vain — I am destitute — I have not money to buy even canvas and colours for these commissions !” With a thousand exclamations of regret and surprise, the young man put twenty guineas into Wilson’s hand, and left the house thought- ful. He was a hopeful, rich young dilettante, but this made him pause. That night he said to himself, “ If Wilson, with all his genius, starves, what death can I expect to die ?” He rose, locked up his palette and brushes in a cupboard, started the next morning for college, and rose to eminence in that not very encou- raging profession, the Church. Then another bitter mortification arises be- fore Dick in this dissolving view of misfortune. He is still leaning against the garret door, but the scene is as clear as though it were now happening. It is a week ago — memory has strong wings, and flies fast. He, the poor neglected painter, is at the annual Academy dinner, where patrons and toadies for once meet on an equality. Wilson would rather be at porter and skittles, for he does not like the courtly, time-serving, prudent Reynolds ; and Reynolds does not like him, for he is rough and frank, and poverty and misfortune have made him dangerously sincere. Suddenly the clatter of knives and forks, and the jingle of glasses, die away. The President is on his legs ; he proposes a toast ; every stupid eye turns towards him. Sir Joshua proposes the health of Mr. Gainsborough, “the best land- scape-painter.” Half a dozen men turn and smile or sneer at Wilson. The personality is felt, and has struck the broad target. Wilson turns purple with rage, and growls out very loud, “And the best portrait-painter, too!” Reynolds is one of those men who bows when you pass the unbuttoned foil clean through his heart; but Wilson groans, and screams, and struggles, like your ordinary, unsophisticated human being. The President is overwhelmed with regrets. If he had but known Mr. Wil- son, the landscape-painter, had been present ! Far was it from him to reflect on any branch of the art he loved so much ! He tendered Mr. Wilson his sincerest apologies! I’ll tell you what the President has done, — he has struck Wilson between the eyes, and then runs to get him vinegar and brown paper. Sympathy is never pleasant to a proud man ; but to a proud, soured man, and from the author of his injuries and the encourager of his neglects, — no ! Wilson is a brave, honest man, he will not smirk and bow, and appear to forgive, when the sting of the blow is still on his face. He grumbles and growls like distant thunder ; turns from the successful man, and goes on talking to sturdy Beechey, at whose house he visits, and whose pretty daughters he is so glad to find do not learn drawing, “for now all young ladies draw.” When the party breaks up (Reynolds, who cannot draw, has been great on Michael Angelo, who could not colour), Wilson is quite mobbed with Academicians, who tell him how wrong and unworldly has been his behaviour. The President likes flat- tery and condescension, — Wilson should have expressed bis anxiety to see Sir Joshua’s last portraits, and his favourite Rubenses. Bah ! Wilson “hated the fellow, with his airs and graces, the flattering face-painter.” Wilson has not forgotten the blow. He is too poor to be a Christian : forgiveness is for rich, happy, successful men, like Reynolds. The President has gone home full of regret at having injured a clever man’s feelings. He will not sleep to-night. Regret ! — not he ! Reynolds is one of those smooth smoulderers, who bear small injuries for years, and die without forgiving them. He knows he is but a portrait-painter, and is sen- sitive and jealous of all other excellence. He is rich but not satisfied. Years after, when Wilson is dead, — broken-hearted in Wales — his heart-strings snapping in the sudden sun- shine of success, — Reynolds will vent the hoarded spite of ten years, and will sneer at Wilson’s ‘ Niobe,’ and the little Apollo up in clouds that will not support him. He will call the poor dead man “ our ingenious Academi- cian,” and talk of his injudicious mistakes in admitting supernatural objects in landscapes, too real and too like common nature. He will throw wet blankets on the ‘Niobe,’ by calling it, coldly, “a very admirable picture of a storm.” What ! this from Reynolds, who stole atti- tudes from old engravings ; and thought he had turned Mrs. Siddons into a Muse, because he lit some damp straw under her armchair ! These gloomy contemplations of Wilson’s are interrupted by a pompous knock at the lower door. It opens, — there is a buzz of loud, asserting voices, and the sound of many feet is heard on the stairs. It is a deputation from the Academy. There is Penny’s voice, and there Moser’s ; there is Way, the R.A., who painted the great Shakspere sign near Drury Lane, and a host of honoured talent. They come to tell him, perhaps, that Hay- man, Hogarth’s friend, is dead, and he is to be the new Librarian. They bow and shake hands ; sit down they cannot, for how can ten fat men sit on one chair ? They begin talking. Wilson “begs — excused — go on — not much time:” on he goes with the temple and the ilexes. He sees no good in their hard faces and shrug- ging shoulders, as they look at his easel. They nave come to say, on behalf of the whole Academy, that they are sorry, that they deeply regret, that Mr. Wilson, with all his natural genius, so much neglects the lighter graces of style. They were sorry to see so clever a man imprisoning himself in what they might almost call a garret. (The speaker here looks round, and all the deputation repeat the word garret, shaking then heads deprecatingly.) Austere seclusion without society was not beneficial to the mind. Light diet, and the repeated use of beer instead of wine, was not beneficial to genius. In fact, they one and all agreed that no hope was left for Mr. Wilson but to finish higher, and more in the Berghem manner, tempering the severity of his style with the THE ART-JOUBNAL. 3 more playful grace of that great Italian, Zuc- carelli. If you have ever heard a man cheated at skittles (as Wilson has) turn round and open a sudden battery of oaths and abuse at his conquerors, you have heard all that Wilson said now. With ruffled plumes, and angry looks, and frightened objurgation, the embassy return to those who sent them, and at once agree that Mr. Wilson, being an obdurate and senseless advocate of a dead system of Art, must be at once discountenanced and given up, — and he is given up accordingly. * * * At last, in the winter of his days, Pro- vidence sends a meagre ray of cold sunshine to light our poor, broken-down genius to the grave. A brother dies, and leaves him a small estate down in Wales; and, suddenly, the legacy assumes a greater value than ex- pected ; for a vein of lead is found in the grave. It is almost a mockery this good for- tune : it is something like digging a beggar’s grave, and discovering a gold mine where the pauper’s coffin is to lie. Fortune has come, and finds the old man unable to enjoy it. His eyes are going, his touch is now coarse and heavy, he has pains in the side, his spirits are lost long ago; he is now a soured, broken-down, helpless old man, wanting only to die in peace in his native country. Fortune has sent him gold, and a coffin to hold it. He goes, in a glimmer of revived spirits, to ask his kind, hearty friend, Sir William Beechey, if he has any commands for Wales. His speech falters as he bids him adieu — the friend of his adver- sity. He groans with a sudden influx of pain, pressing his side as he groans. After all, the garret in Tottenham Road was not so bad, it was only the misery made it seem so ; now the old man, buckling up his easel and canvases, almost weeps to leave it. * * * He is down safe in Denbighshire — in the pure, bright air again, just as when the old clergy- mau his father applauded him for drawing the clerk’s portrait on the white wall of the kitchen ; old women in hats knitting again ; the rough, liquid, rocky speech too. He is in a landscape country, and is a great man really, as he had so long dreamed of being. He is the great painter down here, and no rival for one hundred miles. He is loved, and every one smiles and bows when he approaches. “ Bottom, you are translated ! ” Was that all a dream, then, about that loath- some garret, where the walls were alive, and the blue sky was shut out with screens of dry- ing clothes, and brown clouds from the breathing chimney-pots ; about that hard pawnbroker ; that lady, whose bright silks made your poor room look so doubly sordid by comparison ? Skittles and porter now to be had for wishing, and a region, more beautiful even than your dreams, living round you as you live. Happi- ness came late, but still it has come. Oh that Sir William Beechey were here to enjoy it ! No Apollos, it is true, are here, but, then, plenty of Joneses; no Meleagers, but heaps of Griffithses ; and then for temple and Tiber, clear mountain stream gurgling conteut, and fern brake, and giant corner-stones of moun- tain granite. The right man in the right place at last — the landscape-painter living in his landscape ; the young flowers, ever young, whisper comfort to lnm; cool evening brings its balsam dews; the oak trees whisper conso- lation; his heart was all but broken in the long struggle, he was but one step from the gulf, but here comes the luminous hand to snatch him safe. 