LETTERS TO THE EDITOR.

Notice of Works.

SIR, I AM not one of those who expect you to adopt every sugges tion that may be given to you; but I think what I wish you to do may be so easily performed, that I doubt not you will comply with my request. It is, that when noticing any prints or books relating to the Arts, you would add the price of them. I have often felt inclined to purchase works, of which you have given favourable remarks; yet, living in the country, and being ignorant of their price, have given them no further thought; whereas, had the price been added, I should at once have known whether it were or were not within my means. I doubt not that your adopting this would be a convenience to your country subscribers at least, and tend to the sale of many a work which now persons take no trouble to inquire after.

I am, Sir, yours,

G. W. S.

[We publish this letter because, the same suggestion having been made several times personally, we think it due to our Subscribers to account for its not having been acted upon. The reason is, that our so doing would in each case subject us to an additional duty of three shillings and sixpence at the Stamp-office, which it would be absurd in us to incur for the sole benefit of the print-sellers. As it is, we do not always receive the compliment even of an impression, much less of an advertisement, which, however, we beg to say, we do not seek, as at our scale of charges (which was calculated merely to serve the Arts and not ourselves) we should not receive any surplus after paying the duty and the costs of print and paper. The same reason obliges us to forgo announcements of forthcoming works. And we beg to take this opportunity also of stating, that if we entered into such accounts of works, as many of our friends seem to expect, they would far exceed their just limits in our publication, and we might besides incur the imputation of favouritism or discover when the works were submitted to public criticism, that we had been induced to form an erroneous estimate of their merits.-EDIT.]

Students of the British Institution.

SIR,--The Morning Chronicle having issued an unintelligible paragraph upon the studies and students of the British Gallery, we look with more confidence to some better explanation in your work, which professes to

rescue from hirelings of the press the treatment of subjects so unfit for their judgment. The article contained no criticisms, but deprecated the system of copying for sale, that the students or servile pecus made an improper use of the pictures, and seemed to think that Titian's 'Venus' had better have been away. Now the proprietors leave the pictures with conditions that the size of the copies should be limited, and many with no conditions at all. Of the large pictures, the only copies of the same size was one from Reynolds's picture of Mrs. Loyd, two from Vandykes, the smaller pictures being copied the same size. But it is true that the majority crowd after what is saleable rather than what is useful to them as studies; but the best studies,-the pictures which the critic should have held out as proper examples to the modern artist,-are mentioned as improper subjects, or not mentioned at all. Titian's 'Venus,' certainly the finest study for colouring, should have been made the example for every one desirous of attaining beautiful colour, although it may not be perceptible to the Morning Chronicle reporter. A splendid painting by Paul Veronese was not copied by any one as it should have been: from its situation, unfortunately, no student could have made more than a sketch. The criticism is merely a specimen of all the rest, and manifestly shows how much a distinct work on the Arts is necessary, and how long the public have been misled by ignorant connoisseurs and mischievous hirelings. Perhaps this may induce you to take into consideration a subject which may have effect on the possessors of these valuable pictures in future, as well as afford proper subjects for the instruction of the young artist and improvement of the old.

Yours, P. B. P.

[We prefer giving our correspondent's letter to making any observations of our own, for obvious reasons. We think the letter contains much truth, as well as affords proof of strong observation.-EDIT.]

CRITICAL NOTICES.

Gallery of the Society of Painters in Water Colours, Part I. Under the Patronage of the King. London: C. Tilt.

In the first volume of the "Library of Fine Arts" we mentioned the formation of this undertaking, and the First Part of it is now published, containing the three following subjects :

1. Venice.-Painted by Samuel Prout-Engraved by E. Goodall.

2. The Gamekeeper.-Painted by W. Hunt-Engraved by E. Smith. 3. Rembrandt in his Study.-Painted by J. Stephanoff-Engraved by C. Lewis.

1. "Venice" is the only place next to Rome-the "Niobe of nations," the recollection of whose prior state and subsequent degradation lives in the feelings and sympathies of man, and causes him to reflect on the revolution of empires. It is true, ancient history records the imperial greatness of Babylon, Nineveh, Tyre and Sidon, Jerusalem, Troy, Carthage and Byzantium; but their names only exist in tradition: they have now no 'local habitation;" whereas, on the contrary, Venice is yet to be seen, though shorn of her regal magnificence. Those towering palaces, once thronged by brilliant assemblages of beauty and chivalry, that once secret chamber where met the "Council of Ten," the rulers of the Emporium of the East, the unrevealed springs from which emanated the power of the haughty Republic,-that "Bridge of Sighs," where actions have been performed that would make "angels weep”Venice has been the scene for the imaginative minds of Shakspeare, Otway, and Byron. They embodied the recollections of her greatness through the medium of poetry: Canaletti and Guardi, Bonington and Turner, and last, though not least, Prout, have wrought in painting facsimiles of her

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-cloud capt towers, gorgeous palaces, and solemn temples,"

and dazzling concentrations of every varied costume.

The subject of the plate before us represents the Ducal Palace, ending in perspective with the Church of Santa Maria della Saluta, and the fore-ground (to use an artist's phrase) filled up by groups of gondolas and boats. We are sure we but echo the universal opinion, when we say that this picture is the most brilliant and masterly production of the genius of Prout. It is luxuriant and animated in composition, remarkably vivid and sparkling in effect, and the chiar'-oscuro of it broad, and admirably managed. Having seen the original, we can bear testimony to the ability with which Mr. Goodall has executed the engraving; it is clear without being hard, and rich without meretriciousness. The distant objects and figures are remarkably minutely made out, yet not in the least interfering with the general harmony or keeping. It gives us great pleasure to be enabled thus to award to Mr. Goodall this high praise, as justice, on a former occasion, obliged us to speak dispraisingly of his "Sunset," after Claude, in the National Gallery.*

2. Of this plate, "The Gamekeeper," we cannot better explain it

* Vide Library of Fine Arts, vol. ii. p. 300.

than by extracting the description of this worthy from the letter-press of the work. "The individual represented in the plate before us is Care, gamekeeper to Charles Dixon, Esq. of Stanstead Park, Sussex: the drawing was made some years ago by Mr. Hunt, when the man lived at Chicksands Priory, Bedfordshire, the seat of Sir George Osborne, Bart. An accurate representation is here given of the decorations of the interior of the hall." Not being acquainted with this Mr. Care, we cannot pronounce judgment as to the truth of resemblance; there is, however, a strong feeling of individuality about him, that tells as if it were his veritable self. Mr. Hunt's paintings having the vivid effect of colouring as their greatest charm, necessarily lose some portion of their power and beauty by being engraved. Care is represented in a very anti-care-like expression and attitude. Seated on a rude form, his right leg carelessly dangling over one corner of it, the left arm a-kimbo, the right hand holding a drinking-horn, "his mouth with a smirk, and his eye with a leer," he seems perfectly unacquainted with the other very troublesome and well-known Mr. Care. The engraving is very bold and effective, well suited to Mr. Hunt's style.

3. In attempting to represent the painting-room of Rembrandt, and likewise the same effect of chiar'-oscuro, Stephanoff should have studied that master's style more minutely, and discovered his management of materials, and consummate knowledge of breadth and harmony of effect. In nature, as in Rembrandt, there is always one powerful concentration of light, from which lesser ones radiate;-there can never be two lights of the same force. In this picture Stephanoff has placed Rembrandt in the centre of the composition, a lady and child in the costume of the time, to his left, filling up the left-hand corner of the picture, Gerard Douw, his pupil, leaning over the back of his master's chair, a Jew rabbi in full costume on his right; and the figure of his mother entering the room, breaks the deep shadow in the back-ground: his left hand holds his palette, his right extended to the picture which he is painting -the Adoration of the Magi. His dress is a black gown and cap, which, by being brought in close contrast with the light dresses of the female and child, gives the focus, and fixes the eye. But with all this the picture wants repose; it looks scattered and cut up by reason of the great many smaller lights of equal strength to one another diffused over it; thus the shirt of Rembrandt, the collar of Gerard Douw, and corner of the portfolio which he holds under his left arm, and a light touch close to Rembrandt's right knee, are all of equal strength of white. Any one, by comparing this print with the one just engraved by Burnet, of Rembrandt's 'Adoration of the Shepherds' in the National Gallery,

will immediately perceive what we mean. Or compare it to the "Woman taken in Adultery," and he cannot fail in instantly feeling the truth of what we have said. In other respects it is a very brilliant picture: the various objects of armour, drapery, pictures, &c. well arranged and designed, and engraved in a very forcible and clear manner, by Mr. Lewis.

From this specimen of the Gallery of Painters in Water Colours, we can unhesitatingly say, that it bids fair to form a most beautiful combination of the finest paintings, from the hands of the talented individuals composing the Society, and that it merits the support and patronage of every person of taste and feeling. It is admirably got up, each plate accompanied by short explanatory letter-press. The price also is remarkably cheap. The whole is to be completed in Twelve Parts; each part to be published in intervals not exceeding two months.

Gothic Ornaments, selected from different Cathedrals and Churches in England. By T. W. Atkinson, Architect. Large 4to.

We have already spoken of a similar publication at page 302 of our 2nd volume; and the general observations we then made will apply, for the most part, to the work now before us. The utility of such studies, especially when delineated upon the scale on which we here meet with them, is too obvious to be insisted upon. It is always desirable that the architect should consider the effect of the ornamental features, together with the precise mode in which they are to be executed; and although even the most scrupulous attention to detail will not entirely excuse the absence of other beauties of design, it certainly is in no degree likely to occasion a neglect of them. On the contrary, many a design which makes a fair appearance upon paper, is found to have, when executed, a character of poverty and insipidity,—an unfinished look, in consequence of the inaccurate and paltry style of the minutiæ,-or, to speak more correctly, not unfrequently the absence of those minutiae whose effect is felt even when they are not particularly examined. The subjects contained in this volume are very well drawn on stone; but a few of the plates would have been improved by a little more spirit in the shadows, and by greater variety of tone. These, however, may perhaps be accidental defects, confined to particular impressions of such plates. The collection itself, which is entirely miscellaneous, contains many fine specimens of ornament and ornamental sculpture, and is well calculated to supply the place of models and casts. We cannot help regretting, however, that no letter-press accompanies