to the recommendation, as far as it may be in our power to adopt it. Entertaining an opinion, that no biography is so desirable as that where the writer was personally acquainted with the subject of his work, we have sought, and shall continue to seek, the personal friends of the "illustrious dead," and obtain from them their own "recollections," feeling assured that such original communications will amply compensate in their peculiar raciness for any deficiency of style they may exhibit, in comparison with the works of any "popular author."]

MR. EDITOR,-The following fragment, exhibiting the state of the Arts, with reference to your article of "Paul Sandby and his Times," may serve either as an appendix or a further illustration of the subject, if you do not object to its rhyming character.

I am, Sir, your obedient servant,

There was a time when signs were hung
Across the street, and as they swung,
In creaking concert to and fro,

(Threatening the heads of all below,)

Now parch'd with heat, now drench'd with rain,
Must often be renew'd again.

The Art was then a thriving trade,—
Pictures for wear and tear were made;
No tradesman then a shop could ope,
But gave the painter's pencil scope:
Each vied with each, and up-turn'd eyes
Grew more familiar with the skies.

'Twas then Harp Alley pour'd to view
Its pictured monsters, fresh and new +.
Here Cattont every shape could put on
Of bird or beast: here Keyse's mutton
Show'd how the painter had a strife
With Nature to out-do the life.

Refinement comes, and with it brings
The patronage of Lords and Kings.

PROTEUS.

+ Harp Alley, in the neighbourhood of Fleet Market, was a depôt for sign-paintings; and filled from end to end with every variety of these articles. See Library of the Fine Arts, vol. ii. p. 338.

↑ Catton, a celebrated painter of animals.-Keyse, no less celebrated as a painter of still life, but more especially of butchers-meat: he had an exhibition of his works at a place called Bermondsey Spa, in times past.

The Artist now must bend and court.
And in the ranks of fashion sport;
Must follow academic rules,

And talk of masters and the schools;
At Exhibitions try to gain

A place, or out of sight remain.

From year to year his pencil ply,
Nor heed how years and colours fly:
Take every shape to win the town,
Till all his labours are put down
By age or sickness; or till death
Has stopp'd his pencil and his breath.

CRITICAL NOTICES.

Gallery of the Society of Painters in Water Colours. Part II. Tilt.

THE Second Part of this meritorious publication maintains its high character, and is equally good as the first. The present one contains, 1. The Bachelor; painted by G. F. Lewis, engraved by J. H. Robinson : 2. Calais Pier; painted by D. Cox, engraved by W. J. Cooke: 3. Llyn Idwal; painted by G. F. Robson, engraved by W. R. Smith.

1. Every bachelor will recognise the truth of this scene by Mr. Lewis. A college youth, clothed in his velvet shooting jacket, is sitting intently occupied in the preparation of his fowling-piece, surrounded by dogs, shooting-belts, gun-case, boots, shoes, and gaiters; while his books are unceremoniously scattered on the floor,-Sophocles and Edipus being placed in contact with the Sporting Magazine. His breakfast table is covered with the luxurious paraphernalia of a bachelor's fare,—at least one of his "order." On the mantel-piece are crowded a box of cigars, a German pipe, candlestick, and various chimney ornaments: and in the frame of the looking-glass, amidst cards and letters, appears the miniature of some fair lady. On the walls are hung portraits of two favourite dogs, and a sporting-piece.—We have thus noticed the various objects out of which the artist has composed his picture. Let us now, then, develope his admirable skill, from which proceeds the beauty and breadth of the painting. The principal light is composed of the white table-cloth, the light trowsers and stockings of the bachelor, carried into

the left corner by the light colour of the dog looking up, and the two books on the floor: to the right the light is extended by the lining of the boots behind the chair, the light gaiters placed on the shoes, and the address card of Manton's inside the lid of the gun-case: to balance this, the dark velvet dress of the bachelor, his boots behind the chair, shoes, and lining of the gun-case, a dark-coloured dog under the table, and the college gown and cap on the sofa to the left, and frame of the looking-glass over the fire-place in the centre, give firmness and breadth to the whole *. The engraving is admirable, clear, rich, and sparkling, -producing a very brilliant effect.

2. As an engraving, this is a very fine work; but as a work of art, the whole painting wants breadth and harmony; the sky is too cut up, and the water is very liny and stringy. We never wish to see Mr. Cox on water: we wish he would always remain on land. In delineations of English domestic scenery he is poetical, broad, and massy, and displays fine taste and feeling.

3. The character of Mr. Robson's works partake of, and are in unison and keeping with, the depth and solemnity of his subjects. Unlike Turner, whose grand and imposing solemnity of effect proceeds from deep-toned and indefinite masses, Robson's characteristics are, a broad and clear delineation of objects, but finely massed and coloured,-throwing into the whole a firm and steady tone of feeling.

South-west View of St. Nicholas' Church, Lower Tooting, Surrey. T. W. Atkinson, Architect.

WHEN we are informed, by the inscription beneath this print, that the building was erected for the exceedingly moderate sum of 46197., we are so far from being disposed to criticise it, as being in a somewhat plainer style than was altogether desirable, that we are rather struck with its handsome appearance and the general good taste it exhibits; and really wonder, that with such inconsiderable funds at his command, the architect should have accomplished so much. Although, too, we have hinted that a little more decoration might have improved the de sign, we would not have it inferred that there is an obvious deficiency of it, or any of that poverty and meanness, accompanied with an air of pretension, rendering them still more offensive, which may be observed in more than one of our late-built Gothic churches. After all, too, the

*This is a very difficult style of composition; and being aware of its practical principles, as not being very easy of accomplishment, we cannot but award to Mr. Lewis commendation for his success.

degree of plainness we observe in this structure, amounts to no more than what may be termed simplicity. The forms of the windows and other features are pleasing in themselves, in some respects elegant. The tower and doorways of the west front display much taste; and there is likewise a degree of unity pervading the whole composition that renders it more pleasing than many of its rivals. We ought to add, that we have not seen the structure itself, and therefore form our opinion from the print alone,-where we can behold it only from a single point of view. For the same reason, we are unable to say whether Mr. Atkinson has been equally successful in the interior as in the exterior of the church. The print, which is about twenty inches by sixteen, appears to be an accurate delineation; and if, in addition to the other information it contains, the principal dimensions of the building had been mentioned, it would have been an advantage.

New Church of St. Dunstan in the West.

THIS is a much smaller and more slightly executed print than the preceding; but sufficient to convey an adequate idea of the effect of the intended tower of the new St. Dunstan's, the only part of the building which will be visible from the street. It is considerably loftier than its old predecessor, the uppermost story, above the clock, in which the large windows are introduced, and the octagonal lanthorn or superstructure springing from it, being elevated considerably above the adjoining houses. This tower, therefore, will form a very conspicuous and noble object. With the exception of the entrance and the panelled frieze above it, the body of the tower, beneath the clock, is quite plain, having only a narrow loop-hole window on each side. This circumstance, however, adds to the general effect, as it gives solidity and repose below, and also sets off to greater advantage the upper portion of the structure; which, owing both to the contrasts and variety of forms it presents, and its decoration, properly so termed, will be more striking than any other specimen of the kind in the metropolis. There is something not a little novel and fanciful in the deep perforated parapet,-if it may be so termed,-terminating the octagon, and forming a series of small gables, surmounted by pinnacles, rather lower than those which crown the buttresses at the angle. We do not think that Mr. Shaw has been quite so successful in the mode in which he has united the tower itself to the octagon. According to this view, the former will terminate in four truncated gables, produced by the spleys at the angles, a few feet below the parapet. To us it appears that the effect would have been better had these four gable-forms been completed; for there is

something rather awkward and uncouth in this part of the design, as we here find it.

BRITISH INSTITUTION.

HAVING dwelt upon the exhibition of paintings in this gallery at so great length in our last, we recur to the subject, partly to correct a few oversights in our critique, and partly to make a few observations which our limits then did not allow.

We have always venerated the patriotic spirit of the noblemen and gentlemen who founded this truly national institution; and regret that the highly beneficial purposes which the establishment was intended to effect, have proved so comparatively abortive. This is not, as it appears from our observation, so much to be ascribed to any indifference on the part of the directors of the Institution to the interests of the British school of Arts, but, on the contrary, is rather owing to the indifference of the artists themselves. If the freedom of these remarks should appear to savour of undue asperity or injustice, we would ask, could a scheme easily be devised more likely to be advantageous to the professors of these Arts, than that of the highest personages purchasing a spacious gallery out of funds raised at their solicitation, and opening the same at a vast expense, with an invitation to the whole body of artists to send their respective works thither for exhibition and sale, under the powerful influence of their auspices?

It surely rested, then, with the professors to support an institution thus formed, by the union of their best efforts, to supply pictures that should be creditable to the individual talent of each, and form a display that should collectively raise the character of the British school.

Now whoever is intimately acquainted with the affairs of Art must know, that few individuals who send their works thither for exhibition, do justice to their respective talents; so far from it, indeed, that it would seem, judging from such specimens of their Art as they are in the habit of painting for the occasion, that reputation was the last or least object of their concern, and as to their productions tending to the commonweal of the school, it formed no part at all of their consideration.

When we reflect upon the vast extent of talent that at the present moment is to be found amongst the professors of the British school, we cannot refrain the expression of our sorrow and disappointment at the