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Esq., President of St Bartholomew's Wilkie, the parents of Sir David Hospital,” is probably very like, but Wilkie." We are too near Sir it does not elevate the subject.-No. David's time, to render this family 127, “ Landscape, Sheep-washing, group important. In this prying age, study for the Picture," is worse than nothing is left ignotum, and every the picture.-" The Recruiting Par. thing taken pro mirifico.-The last, ty," No. 128, has a dirty disagreeable " Portrait of Lady Mary Fitzgerald, look. The two last are portraits ; the is very good. We have, contrary to one should not have been exhibited, our usual practice, noticed every picas only of private value.—No. 129. ture and sketch here exhibited. We 66 Portraits of the late Rev. David will now enter the “ South Room." Wilkie, Minister of Cults, and of Mrs
PICTURES OF OLD MASTERS.
These are sixty-three in number- Murillo, is most unpleasant. The no very large collection.-No. 131, Virgin is worse than vulgar; the Child “ Italian Buildings, with an Itiperant like an old man. Musician and other Figures," Lin- No. 139. “ A Man Selling Legelbach, is good for the master-the mons. Teniers.-Undoubtedly gesubject is of little worth. The pecu- nuine-happily executed. The exliar manner of this master is the set- cellence of Teniers lay in his execu. ting off the colour of his figures by tion, and often in his colour; all is greys of various tones in the back clean, and hit off at one sitting : how ground. He did not paint hands preferable to laborious finish! well.
No. 140, “ Portrait of an Abbè ” No. 132. 66 The Bird's Nest,” is evidently from nature. Vander Werf, is a very sweet little No. 141. « Environs de Gueldres." picture. The work is exquisite, and Ruysdael and A. Vandervelde.—This is of the enamel effect of Wouver- is very beautifully executed the
The children are very pretty : colouring is somewhat dingy, and has it is good in colour.
perhaps suffered. No. 133. “A Woody Landscape." • The Environs of Dresden,”. No. Gaspar Poussin.— This is a very 142, Canaletto, is coarse and bad ; beautiful simple scene ; some rather has neither scene nor effect to recomprecipitous rocky ground with bushes, mend it. before which are large trees. The No. 143, “ The Woman taken in cool and warm colours are so blended Adultery," J. C. Procaccini, is a strong, as to render the scene refreshing, and powerful painting, without much a shelter: it bas a delightful repose. beauty. How very rich is the paint, particu- No. 144, “ Fête Champêtre,” larly in the dark trees, a luminous Watteau, is not very pleasing even in substance though in shade! How colour, in which he excelled. Poor much more like pature is this than the Watteau, though a painter of joyous crude, many-coloured things we call scenes, was a melancholy man; his views!
skies and back grounds do sometimes No. 134, “ Portrait of Hubertus partake of his own mood, and contrade Het,” has probably suffered, not dict the expression of his figures. having the freshness of Vandyke. “ The Itinerant Musicians," No.
No. 135, “ Head of a Bull,” Paul 145, Jan Steen, is not a favourable Potter, is as like as may be; it is specimen of this master, who, though the head of a great beast, and only too vulgar, is often full of character, fit for a sign, however well painted. colours admirably, and executes ex
No. 136, “ The Madonna," Eliza. pressively. This is rather hard, and betha Sirani, is rather weak, some- vulgar enough what in the manner of, but inferior No. 146. “ A Young Woman reto, Murillo; and he is the more vulgar. turned from Market. W. Mieris.
No. 137. “ A Sandy Road, with a May go to market often and yet hang Grey Horse and Traveller Resting." on hand, for she is ugliness itself. Paul Potter. The horse is very good, No. 147. “ Landscape with Pigs.” the rest is not quite clean in colour. Karl du Jardin.- We never thought
No. 138, “ The Virgin and Child, we should be reconciled to pigs in a landscape, nor do we ever remember to No. 158, “St Peter Repentant" have met with them in pastoral poetry -is not very much in the manner of - yet here we would not have them out. Vandyke, whose name it bears. It is a beautiful little picture, extre- No. 159, “ An Interior with an mely simple : how well the trees and old Woman Sleeping," Teniers—is ground are set off by the blue sky. very true ; quite like the master.
We do not very much admire the No. 160 is “ A Breeze," by N. landscapes of Sebastian Bourdon, Vandervelde; so fresh a one, that it they are heavy, and their parts in com- has blown away much of the subject; position not made subservient to a it is, consequently, rather faint. whole. No. 148 is not very pleasing. No. 161, “ The Virgin and Child
No. 149, “ The Virgin Weeping with St John, encircled by fruit and over the Dead Body of our Saviour,” flowers," G. Seghers and C. Schut Guercino-is very strange, in the -is well painted; figures in imitameanness of the expression of the tion of Rubens ; they are on too Saviour; the Virgin, and much of the dingy a ground. colour, is very good.
No. 162. “ Full length of a Child No. 150. “ The Daughter of with a toy in a Garden Scene.” Herodias with the Head of John the Rubens.-Not very agreeable, but Baptist." Carlo Dolce. - This is well painted, only in parts, in the strong, and sudden in lights and sha- usual manner of Rubens. dows, so frequently opposed that it No. 163. 6 Dutch Boors"-great is not without a flutter, ill suiting the bores, even though by the hand of subject.
Teniers, to whom this is ascribed. No. 151, “A Slight Gale," Van- No. 164, “ Landscape," Francesco dervelde—is very good; the water is, Mile-is a very pretiy picture; his perhaps, a little rubbed.
colouring is, in general, too warm ; No. 152, “A Family at a Re- he wants fresh cool greens; he aims past," W. Mieris—is very disagree- at too great richness, and forces his able over-finish.
composition as he does bis colouring : No. 153. “ The Family of Oliver it is a little overdone. We recognize St Jobn, Earl of Bolingbroke." This the art. is a very fine picture ; at first view it No. 165. " Scene on the Coast of appears slight and sketchy, but the Holland, with Boats and Figures." finish comes out as we look. The Vander Capella.—He is in general a execution is admirable, and colouring very sweet painter with a clean pencharming. It is a most harmonious cil. He deliglıts in cool greys in his whole. Each figure has its indivi- skies and water. The water in this dual character, yet are they one fa picture is not very clear; it has promily. The composition is perfect. bably met with some injury.
No. 154. “ Landscape, with Histo- No. 165. “ Cicero at his Villa.” rical Figures." Gaspar Poussin.-If Wilson.— This always struck us as this be original, it must have suffered. very poor- very affected; it is bad in
There is one of the same subject in composition and effect, and was, doubtthe collection of P. J. Miles, Esq., less, very unlike Cicero's delightful Leigh Court. It is a grand composin retreat. tion. No landscape painter ever so No. 167, “ Portrait of Mrs Robinthoroughly understood composition son," Sir Joshua Reynolds - is as did Gaspar Poussin. He worked good, but not one of Sir Joshua's upon a simple principle, but a most best. Is the drawing of the neck true one. His arrangements are al. correct ?--the jelly-bag curtain is not ways with an art.
agreeable. No. 155. “ Adonis going to the No. 168. “ The Adoration of the Chase.” Titian.-This subject is in Magi.” Palma Vecchio. . This is the National Gallery ; much of the rather a large picture, well grouped freshness is gone from both. Is this and composed - deficient in chiaroa Titian or a Repetition ?
scuro-and more strange than perfect No. 156, “ Landscape, with Fi- in colour ; the blue drapery of the gures and Cattle," Berghem-is a Virgin is light and peculiar. Old little out of harmony.
Palma was an admirable colourist, in No. 157, “ The Flemish Bull," general of a deep cast, and not much A. Ostade is beautiful in colour, and after the manner of this picture. H Irightful in subject.
painted with Titian, and copied
deep tones and vivid flesh tints. He dekooter.— The fowls are finely paintput his name to the pictures on which ed. Hondekooter is not happy in his he rested his reputation. It was old back grounds—they are in general too Palma who finished the picture left dingy. unfinished by Titian, and he put his No. 178. 6s Animals in a Landsname to it recording the fact.
J. H. Roos.-Peculiar, but No. 129. " Heads." Titian.--A not pleasing very fine study, especially the profile. No. 179. “ Landscape, with a Fall
No. 170. * The Virgin and Child of Water.” Ruysdael. - This is more with Joseph, in a landscape.” Carlo like Everdingen ; it wants the charm Maratti-" O si sic omnia.” It is a of colouring, and fresh clearness of very sweet picture, good in colour Ruysdael. and composition; the attitudes are No. 180. “ The Last Supper." easy and unaffected; it is full of grace. Sasso Ferrato.--This is beyond the The child is lovely. The landscape, usual size of this painter's pictures. which is very good, is, perhaps, a It is very good—very superior to his little too weak for the sky.
higher-finished Madonnas; it is good No. 171. "A Cottage Girl going in colour. The principal figure is with her Pitcher to the Brook." rather poor-here we should expect Gainsborough. The cottage girl has to see a failure. It is an imitationa dog under her arm, most admirably possibly a copy throughout, and appapainted; it is quite life ; so is the rently from a fresco. girl_that is, the face. How very su
No. 181, Interior of a Dutch perior is Gainsborough here to Mu- Church"- Cuyp- is very fine, the rillo; but the background is vile, green curtain is rich, and wonderfully weak, and washy, and disagreeable illuminated.' in colour, and slovenly in execution. No. 182. “ Landscape, with the Gainsborough was not a landscape Fisherman presenting to Polycrates, painter ; see his book of studies; was the Tyrant of Samos, a Fish, inside there ever any thing so poor?-utterly of which was afterwards found the upimaginative, and the vilest selec. Ring he had cast into the Sea." Sal. tions from common nature. He was vator Rosa.-Freely painted, very a portrait painter. And yet what good composition, landscape and fia sum of money was given for that gures well agree. It is not so dark as abominable thing the “ Market Cart,” his pictures usually are; and has a that disgraces the walls of our Na- peculiarity, as if red colour had been tional Gallery!! Who will venture scumbled over the whole, and left in to agree with us in our heterodox the grain. The rolling clouds and opinion ?
mountains hold communion with each No. 172. “ Head of a Female." other; the aerial distance is well preGiorgeone.-Richly brown-a good served. It shows how much can be head.
done with little labour, when a vigoNo. 173. “ The Madonna.” Sasso rous mind directs the hand. Ferrato.- Beautifully painted-very No. 183. “ The Virgin presenting poor in expression; it is in imitation the Infant Saviour to a Female Saint.” of Correggio in style and colouring. Paul Veronese.- This is one of the
No. 174. “ Landscape and Fi- most beautiful of the masterly works gures, with a Fall of Water.” Ruys. of Paul Veronese. In some respects dael.-How admirably Ruysdael ma- it is out of his manner. It is a subject nages his bursts of light in his skies ; of quiet, of a holy repose. Amidst all they are always in the right place! its richness, almost glitter, an under this is very fine, the sky on the hori, glitter, of dress and jewellery, it is the zon is not quite clear,
quietest of pictures-modesty, sweetNo. 175. “ Sea-shore, with Fi- ness, purity. Excellent in composi
s.” Gainsborough—is not very tion, and most tender in expression. pleasing ; it is violent in weak lights It is very simple in compositionand splashy browns-is very sketchy, the Virgin on the right, sitting, preperhaps unfinished.
sents the child to the Female Saint on No. 176. " Portraits of John Bel- the left, who kneels and bends the lenden Ker and his brother Henry head downwards; above and between Gawler"-certainly not in Sir Joshua's the figures is an angel in the sky—so good manner.
light and floating—and how beautiful No. 177. 66 Live Fowls." Hon- is the sky! It is not, in the common
acceptation, a natural, an every-day through the eye, and that should ever sky-angels do not come into them ; it be the painter's aim. This picture is is of the colour of precious stone- exquisitely painted, and with an illurather green
than blue, yet how aerial, mination of colour throughout. and setting off the flesh tints with a No. 188. “ Landscape, with Fi. wonderful grace of art. A lion's paw gures. Wynants.-- This master was is on the saint's drapery-why may evidently a favourite with Gainsboit not be St Catherine ? There is not rough, who yet never painted such a picture in this Exhibition to which bits of landscape; they are too often we so often returned, and always with backgrounds to dock leaves, elaborately renewed pleasure. It is all beauty. painted. We have seen better speci
No. 184. " St Francis with the In. mens than this. fant Christ.” Murillo.—There is no- No. 189. “The Taking Down from thing divine here, nor even sanctity, the Cross, a Vision," a pasticcioand the colouring is any thing but
Teniers—is one of this master's clever agreeable.
vagaries. In these subjects he mostly No. 185. « Landscape, with the had Rembrandt in his eye. Story of the Cruel Death of Poly- No. 190. 66 A Boar Hunt." Rucrates.” Salvator Rosa. A wild bens.-There is great energy in the scene, very fine-a companion to No. figures; the whole is thinly painted. 182, and in the same manner.
This is not very unlike a pasticcio of No. 186. « Job and his friends." D. Teniers. Salvator Rosa. - Very powerfully No. 191. “ Diogenes.” Salvator painted, but we do not admire Salva Rosa.- Were Diogenes painted to the tor Rosa's large figures.
life, we should not like the cynic. No. 187. “ An Exterior, with Fi. Nor do we here. gures Drinking." P. de Hooge. No. 192. View in the Environs The title gives no idea of this picture of Dresden." Canalettomas No. 142, De Hooge's “ figures drinking,” are by Canaletto, the brother-coarse, and no drunken boors, no beasts—his i not pleasing in any way.. the tranquil sweetness and comfort of No. 193. « Dead Christ, supported domestic life. It is of the detail of by the Virgin, with Joseph of Arimadescriptive poetry, the colouring an- thea.” Pietro Perugino.— This is a swering to the music of words. There curious picture by the master of Raf. is an air of sunny peace, almost of faele, and not without much the elegance, in whatever De Hooge beauty which characterized the pupil. touches. You look upon this little The figure of the Christ is indeed hard picture with undisturbed pleasure ; it and quaint—what we should term is of calm enjoyment, of easy circum- Gothic. In some parts the colouring stance, of little luxuries, rare enough is better than that of Raffaele. The to be prized. The figures drinking heads are full of tenderness, of painful are men of trust and probity; the sorrow, not undignified- sanctified. woman is modest and gentle who The figure on the left, holding Christ, pours out the well-stored liquor. To is extremely beautiful, and how very make the home-happiness more per- finely coloured !-no unmixed, crude fect, a child is sitting apart, nursing a colours; it is difficult to give them pet-dog. Then we must have a neigh names, and therefore are they the bourhood, for one of the drinkers is a more impressive. It is very curious guest, just stepped across the way; so
that all the flesh has little minute you see through a doorway across the cracks over it, as if done by some street: and there is a house, and one method on purpose; they are with a cherished tree before it, and where else. If the whole were but there is some little show of superior equal to some of the parts, the master respectability, yet not too proud, a gilt would not have been outdone by his ornament over the door, as an armorial great pupil. escutcheon. This is quite a lesson to
We have here noted all the pictures, those who paint familiar scenes—they and have already trespassed too much are stupid, without some such purpose on the pages of Maga to make further as this ; the mind is here gratified remarks,
RICARDO MADE EASY; OR, WHAT IS THE RADICAL DIFFERENCE BETWEEN
RICARDO AND ADAM SMITH ?
WITH AN OCCASIONAL NOTICE OF RICARDO'S OVERSIGHTS.
We undertake a bold task, to bring whether in preparations or mechanic within the compass of a pamphlet, power, which gives effect to labour:
new view of that modern and ihat is, unless so far as they are enreformed Political Economy which dowed with capital both circulating has now been before the public for a and fixed. But hence arises a twoperiod of twenty-five years. Exactly fold fund; one upon the capital, two years later than Waterloo, and another upon the mine, or whatever therefore exactly twenty-five years else may be the original subject to earlier than this current summer of which the capital is applied. These 1842, David Ricardo made the first two funds are in the most rigorous and the last effort that ever can be sense divided from each other; and made to revolutionize that science the test of that division is, that they which, for nations, professes to lay obey different laws — one tending bare the grounds of their prosperity- slowly to increase, the other slowly to and for individuals, as distributed decline. The fund arising on the by nature into three great orders of capital, is Profit: the fund arising on proprietors, the grounds of their ex- the mine itself, is Rent. The latter pectations. These three orders are is always in correspondence to a scale -1. That vast majority whose pro- of differences arising upon the several perty lies in their natural endow- mines worked in co-existence with ments, whether intellectual powers, each other; the former obeys no such or physical powers, or mixed accom- scale, for there are no differences: on plishments between skill and strength: the contrary, after allowing for a few all these people, under some name or cases of extra profits under special cirother— salary,' • appointments,' cumstances of hazard, or other re· fees,' or however the phrase may be pulsive accidents, it is pretty evident courteously' varied to suit the liberal that profits must always be gravitating quality of the service-receive WAGES. towards a general uniformity; because 2. Owners of capital, which (whether the first notorious inequality of profits fixed or circulating) means any accu- raises a public temptation to that mulated fund or materials whatever transfer of capital which immediately applied to reproduction and not to redresses it. consumption : these people, if they These, then, are the functions,' are themselves the direct employers to adopt a philosophic term, of all of the industry put in motion, receive property. There can be no other. PROFITS : but, if they act by proxy- All men who breathe, allowing for simply advancing funds to others who the mixed case of mendicants, depend employ them, they receive INTEREST, upon one or other of these three which must always sympathize with funds :-upon 1. wages; upon 2. Profits, as being unavoidably an in- profits; or 3. upon rent. For annuitegral part of the same fund. 3. tants, public or private, fall under Owners of land, mines, quarries, No. 2, since the receivers of interest fisheries, turbaries, of which the pe- and of profit are but joint dividers of culiar privilege is to yield two separate the same fund. funds; and these funds are pretty ge- Such being the case, is it not a nerally vested in two separate classes. marvellous thing, that, according to The case is that not one of these the allegation of the new economy, great engines, as we may call them, No. 3 had not been so much as discan be worked without capital. The covered twenty-eight years ago? We mine, for instance, the land, the need not add, secondly, that its laws fishery, are all alike useless, in the same could not have been ascertained, sense as artillery is useless without whilst the elementary idea had not ammunition, unless so far as they are been developed. But, thirdly, it may combined with the money requisite be necessary to add, that even No. for paying wages, and the apparatus, 1 and No 2, radiating in fact from