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exactly the way, either to render Mr. to see any new work of his with Haydon really an excellent painter, feelings of hope and expectation or to induce the public cordially to similar to those, which impelled us allow him the rank to which he was to run to Albemarle Street for the justlyentitled by his merit. It earliest copy of a new poem by Lord would have been surprising if the Byron, or to squeeze into the pit of tone of Mr. Haydon's own mind had Drury Lane theatre to witness the not been injured by his association performance of a new character by with the little junto to whom we Mr. Kean. have alluded, and who have the mo After what we have said, we trust desty to believe that they monopo we shall have full credit for the lize the judgment and taste of the sincerity of our declaration, when world. That it was so injured has we express the high gratification been manifested in several instances; with which, on entering the exhi--in none more strongly than in his bition-room at the Egyptian Hall frequent forgetfulness, that the muse the other day, we found ourselves of painting is too jealous a nymph, in the presence of a production, to admit of any rival in the attach which appears to us to be at once ment of her votaries, and that Mr. Haydon's chef-dæuvre, and an « 'Twas not by words Appelles charm'd
honour to the country. We heartily
congratulate Mr. Haydon on having mankind."
broken the spell under which he For ourselves, from the appear.
seems to have been for some years ance of the “Dentatus," which we labouring; and which dwarfed his believe was the first picture, or the efforts. His mind has resumed its first of any importance, which Mr. natural dimensions. Haydon exhibited at Somerset House, The general effect of this fine we have been the stody assertors of picture on the first glance, - that his genius. We especially recollect critical, and agitating, and decisire that when his “Macbeth” adorned moment!—is powerful and grand; the walls of the British Gallery, and the impression thus favourably while we could not be blind to the made is considerably strengthened strange and exaggerated action of by contemplation. Of the manner the Thai.e of Cawdor, and to the in which the awful and interesting unhappy introduction of the diminu- subject is treated, the descriptive tive figure of his " dearest chuck' catalogue (which is rather incorin the back-ground, we endeavoured, rectly written) thus speaks: through the medium of the press, to “ În the centre stands Christ, draw the public attention rather to resting firmly on the left leg and the exquisitely conceived, and ad- foot, and easing his right foot by mirably executed repose of the ve bending a little the right knee; his nerable Duncan, and to the extra- right arm is lifted up, the hand bent ordinary knowledge of grouping, and beckoning, as suiting the words, colouring, and effect evinced in the come hither;' his left arm hangs the "sleepy grooms.” When the easily. Tranquil power and tender “ Judgment of Solomon' followed, affection are what I have wished to while we were cempelled to admit convey by the action and expression; the blemishes of the composition, as if in the turbulence of the scene we warmly applauded its many and he, only, was not alarmed or doubtpreponderating excellences. From ful. Right opposite is Lazarus, that that time we frankly confess that in instant come to the entrance, tearour opinion Mr. Haydon's pencil ing back the grave-clothes that obgradually degenerated, and that it scure his sight, (the first impulse of did so we 'most consientiouly attri life being to see) and instinctively buted to the cause which we have looking towards the Being who has already, described. To the same restored him, with no distinct imsource we ascribed certain proceed- pression of what has been done. I ings on the part of Mr. Haydon wish to convey the idea as if his which, were it not for the respect face still retained the unmoved, unwe entertain for him, we should un- living air of death, while his eyes questionably denominate “ quack- shine with bewildered re-animation. ery." — Still, however, we hurried His mother, on the left, impelled by
her feelings, darts forward to em the father thanks God for such a brace him; while his father, not yet miracle; the eldest boy, with the sure of his actual existence, keeps impetuosity, of youth, points out her back till he has, ascertained the Lazarus with both hands; while nature of the figure. In the fore the younger boy clings, alarmed, to ground are the grave-openers; one his father. Directly over the Phaof whom has seen him, and, covering risee is a young man out of danger, his eyes, as if haunted by the vision, and who is eagerly investigating the drops his lever and dashes on with- look of Lazarus. The back-ground out being sensible where he will is meant to be the tone that enran; the other sees him, and I wish velopes the sky at a thunder storm; to convey by his action and muscles and the figures are supposed to be the instant motion of a start. On lighted by a sudden flash before the each side of our Saviour kneel the fore-ground. In this description it two sisters, Martha and Mary. is simply intended to convey to the Martha suddenly lifts her head at spectator the painter's notions of all Christ's voice, as if awakened from the characters and expressions; the a sob; and half believing, wonder- visitor is still left to the decision of ing and delighted, sees her brother; his own judgment, as to the success while Mary, tender and pathetic in of the execution." her affections, muses in total abstrac We proceed, with no other confition on her loss; for though she be- dence than that produced by our deliered if Christ had come sooner her termination to state fairly, and withbrother would not have died, she was out undue influence of any kind, the not perfectly sure he would again opinions, such as they are, which a be re-animated. Behind Martha is close examination of the details of Mr. St. John, bowing down with pas. Haydon's picture induced us to form. sionate piety at this new proof of The action of Christ is very indi. his divine Master's power, while St. cative of the feeling by which Mr. Peter is bending forwards, affected Haydon conceives that our Saviour with awe, and putting his hand to must have been at the moment his forehead in sign of his reverence. inspired. We are not however, Between St. John and Christ are a satisfied with the expression of the Pharisee and a Sadducee; the Pha: features. The forebead and nose risee, who believed in resurrection, are delicately and characteristically regards Lazarus with spite and marked; but the receding under-lip. doubt; the other, a Sadducee, who conveys an idea of feebleness indenied resurrection, won't look at consistent with divinity. The proall, but turns bis head away as if portions of the figure also are not in joke and contempt. They wear quite correct. The left arm is rather phylacteries on their foreheads, with too long, and the raised right hand quotations from seripture, as was is rather too large. These may seem their custom; and, as expressive of to be trifles, but they are materially that hypocrisy with which they injurious. were continually reproached by our In Lazarus himself we think Mr. Saviour, I have given each a quo- Haydon has been completely suctation the reverse of his look and cessful; and it is a success atchieved expression. That on the frontlet of in defiance of great difficulties. It the Pharisee is, Lying I abhor ;' must have required consummate skill while that on the Sadducee is, • Thy to represent a human being, the incommandments I keep;' when the one stant after exhumation, without pro. is meant to look as if he did not ducing an exhibition of horror. abhor lying, and the other as if he did Here there is nothing of the kind. not keep God's commandments. Enough of the state from which Immediately behind is a young Omnipotence has just delivered him woman coming in with water remains in the countenance of Laher head, unconscious of what is zarus to attest the miracle of which
doing ; next to St. Peter is an old he has been the subject, but there • woman with the unmoved care of is sufficient manifestation of return
age, begging a younger, who is ing life to prevent the spectator grieving, not to be so affected; a from experiencing the slightest disfather and two sons are above these; gust or aversion,
The parents of Lazarus are ad energetic piety of the old man, the mirable. The eager look and ges- earnestness of the elder son, and the ture of the mother are Siddonian; natural apprehension of the younger, and the manly discretion which in. are all depicted with great and variduces the father, himself agitated ous power. Nor can we extol too between bope and fear, to repress highly the beautifully tranquil and an emotion that he considers pre- ingenious countenance of the female mature, affords an excellent contrast water-bearer, on which the artist has between the two qualities of feeling designedly shed an apparently acciand judgment, by which the sexes dental ray of light; and which, thus are respectively and advantageously innocent and illumined, serves as a distinguished,
most agreeable relief for the eye and The entire abandonment of the mind, after they have been busily gentle Mary to the grief which over wandering among the powerful, tuwhelms her, while kneeling by the multuous and contending expresside of Christ with pale complexion, sions of most of the principal indivitearful eyes and clasped hands, she đưals in the scene. We had nearly gazes on the earth in utter imcon forgotten to mention the
gravesciousness of all that is passing, is openers, who are in the very nearest also finely contrasted by the sudden part of the fore-ground; forming a joy which beams from the face of mass of deep shadow, eminently serMartha, who views the reviving viceable to the chiaro-scuro of the form of her beloved brother with piece. The excessive alarm which ástonishment and admiration. on such an occasion would naturally
Of Mr. Haydon's St. John we are seize persons of their occupation, who unable to speak in terms of praise. had never before beheld " the graves We are perfectly aware of the ami- give up their dead” pervades every áble character assigned to that fa- member of their fear-stricken frames. Tourite disciple in scripture ; but we Perhaps the extraordinary activity, think that, as represented in Mr. which one of them displays to escape Haydon's picture, his person and from the object of his terror, is calaction are feminine, and his coun culated to excite an emotion rather tenance full of affected rather than hostile to sublime expressions. of genuine sensibility.
The drapery and the other accesIn the middle-ground, the venera gories of the picture are firmly and tion of St. Peter, the scowl of the finely painted; the colouring is harPharisee, the sneer of the Sadducee, monious ; and the general tone is the sorrow of the daughter, the con- rich, but historical. soling attention of the mother, the
MR. HAYTER'S PICTURE OF THE LATE QUBEN'S TRIAL.
Ņow exhibiting in Pall Mall, (with an engraved Outline):
Mr. George Hayter has just sel engaged in the cause, who, being finished, and is now exhibiting in relieved from the examination of the Pall Mall, a capital historical pic- witness by the interrogatories thert ture of her late Majesty's Trial in putting by the Peers, were enabled the House of Lords. The time chosen to turn round from the bar and face is during the cross examination, by the spectators. Earl Grey, of the Italian witness, It is difficult to conceive a subject Majocci, on the 6th day of the trial, more uninviting for a painter than and the artist has availed himself of that which Mr. Hayter has executed. that moment of time, as being the Ip poetry and in painting the imamost suitable for a complete repre- gination is generally excited, and sentation of the imposing scene, for filled with a rapid and vivid delineait presented the opportunity of his tion of a single object or groupe ; exhibiting the business of the House and a general description is rather within the bar at an interesting given by a brief and very limited selecpoint, and at the same time of giving tion, which leads the mind more to portraits of the distinguished coun supply what is omitted from the in
We hope to be able to present our readers with an elegantly engraved out of this admirable picture in our bext pumber..Ed.
dex already given, than to look for A light and partial panoramic sketch and find it in palpable and elabo- of such a subject might be, and perrate details. It was, therefore, with traps has been executed; but neither some degree of anxiety that we of that nor of any other event in heard of the progress of a work, to British History are we aware, that be executed with all the minutiæ of a record has been preserved like the portrait painting, comprehending present; entire in its comprehension such a numerous body of the Peerage of the actors and the action in the and public characters of the king, scene, faitliful in its particular redom, all engaged in the discharge presentation, and most curious and of a daty likely to call forth such interesting from the great variety of an infinite variely of expression and authentic protraiture of eminent display of individual character. characters in different ranks, and the
The exhibition of this great his. contrast and arrangement of attitorical work, (for it refers tờ an tudes, which denote in no small deevent which must figure in the page gree the force of individual babits, of history) has removed the anxiety and the degree of interest which, in which we previously felt for the ar many instances, they may be supduous undertaking of a meritorious posed to take in the passing business artist. Those who had not access of the day. to the House of Lords during the The labour of such a work must Queen's trial have, in this picture, have been intense, when we see that a most accurate view of the whole the artist had to paint from the scene ; a better view, indeed, than sittings of the originals (as has been any person could have had during stated) upwards of two hundred porthe trial, for in Mr. Hayter's work traits; but not the least part of his the spectator's eye at once embraces merit is in the arrangement of the the whole of the proceedings: the composition. There is, however, to order and arrangement of the Peers the eye of the ordinary spectator, a ánd of the House, and tlte respective singular and most ofelicitous ar sitaations of the Queen, her counset; tangement of the perspective of the the witnesses, &c. &c. in the most picture; which, without casting any palpable and interesting detail. The object or part out of its proper place, singular merit in the composition conduces in an eminent degree to and execution of this picture is, that make the whole harmonize. the eye never tires in surveying the The choice of the point from which crowded, yet still distinct grouping the view of the house is taken is adof which it is composed. The House mirable, and the propriety of treatof Lords, as a building, is very little ing the perspective diagonally, inadapted for pictorial effect-therestead of taking a parallel view to are no architectural beauties to re the base line, by which arrange. liere or embellish a picture; the cross ment the horizontal lines are in no lights from the small side windows, instance parallel, evinces very great the monotony of colouring of the skill and a critical knowledge of the tapestrý and decorations, and the principles on which the old masters erection of the temporary side gal- acted when determining to produce leries for Peers during the trial, were a peculiar effect; the arched top to still less calculated to aid the paint. the pictnre is another advantage also er's work. The parallel lines formed 'conducing to effect. Considerable by the Peers' seats, the cross benches, art is also displayed in surmounting the sunken position of the woolsack, the difficulty of uniting the figures the brass rods supporting naked core in the galleries to the great nices, and the fence-railing of the side groupe, and the plan of placing the galleries, (all secure and commodious Peers at the right hand corner in a enough for the accommodation of standing posture assists in attaining their Lordships) presented a com: the desirable end. The chandeliers bination of difficulties in the com- are finely drawn and coloured, and position and execution of an histori- the manner in which the gorgeous cal work, where accaracy of details colouring of the throne in the back, must not supercede that general sim: ground is subdued into a chaste and plicity and imposing effect as a quiet tone, by the gradations of the whole, which is indispensable to in. brass columns so managed as to lead vite and secure permanent attention. the eye to it in the most perfect har
mony of colouring, cannot be too unfavourable arrangement of the highly praised. The portraits are seats for a work of art, there is noall true to nature, and even the un thing monotonous; all are naturally favourable variety of plain habili. placed, and these positions which ments, while they designate indivi from their close resemblance to the dual taste and habit, attest the fide practice in real life, dictated by ease lity of the artist, while they greatly and mutual convenience, appear to diminish his means of producing the ordinary observer as of compictorial effect.
Had Mr. Hayter, mon execution, because they do not like the late Mr. Copley in his pic
strike bim with any novel appearture of the Death of Lord Chatham, ance, is the most difficult of manageresorted to a violation of the strict ment in the whole executive mecostume of the moment, and dimi chanism of art. To give the various nished the pressing difficulties of attitudes of two or three hundred such a work by a mere selection from personages, all of the highest rank, the Peers present on that occasion, and therefore requiring of the artist, attiring them in their robes, (not a close adherence to strict propriety; worn on the particular day of that to preserve the respective likenesses statesman's illness) he might have amid all the difficulties of local siobtained some magnificence, but at tuation, some in the galleries conthe expense of real truth ; not that siderably above the eye, and where we blame Mr. Copley, for he had they were played upon by the cross great examples for his deviation lights from the windows, and others from the strict costume; but that engaged in the thronged grouping we feel ourselves bound to pay a below, was an arduous and, were it higher tribute to the artist, who has not for the example of execution succeeded in representing every before us, we should say an insuthing as it was really seen at the perable task; in every part of the particular moment, and shewn that picture the fidelity of portraiture is by the application of arduous labour, preserved, from the full front groupe and unsparing attention, it was of the learned Counsel for the Propracticable to combine this minute secution and for the Queen, (a most fidelity with a plan of composition finished part of the picture) to the and tone of execution, in a high de. more distant and indistinct, but still gree calculated to produce general perceptible likenesses of the crowd offect. The concealment of labour, of Commoners upon the steps of the where so much must have been ex Throne. The variety of interesting hausted, is also a remarkable proof objects in this great historical work, of the artist's skill; every figure leads us into prolixity; but we must seems perfect in itself, and there is conclude our remarks, by observing not a constrained or affected attitude that the picture must be seen to bave in the whole composition-each per- its merits more adequately undersonage appears to occupy his proper stood. We understand it was painted position, and to be engaged after his by the order of the Hon. George ordinary manner. In the various Agar Ellis, a distinguished judge lines of figures, notwithstanding the and patron of the fine arts.
THE CHAPEAU DE PAILLE, BY RUBENS.
Now exhibiting in Old Bond Street.
We have been so much accustomed ing. Both in form and in colour it to the exaggerations of public ru- bears the unequivocal stamp of Rumour, especially as it regards foreign bens; but it is Rubens refined, it is works of art, that we own, notwith as if Rubens had painted with Tistanding all we had heard on the tian's pencil and palette. Although subject, we were not prepared for the features are not individually the effect which this exquisitely perfect, the general expression posbeautiful picture produced on us. sesses the most “ enchanting inThere is but one word which can terest." The face, which is rather inadequately describe that effect ; clined forward, would in consequence FASCINATION. In its way, it is un of that position, and of a large prodoubtedly the ne plus ultra of paint- jecting Spanish hat, have been prin