Kitabı oku: «The Mirror of Literature, Amusement, and Instruction. Volume 19, No. 541, April 7, 1832», sayfa 5

FINE ARTS

MR. HAYDON'S EXHIBITION

Mr. Haydon has completed his Xenophon and the 10,000 first seeing the Sea from Mount Thèches—a brilliantly glowing page of Grecian heroism, and a splendid specimen of the highest order of historical painting. It represents the celebrated retreat of the 10,000 valorous Greeks, with Xenophon at their head, whose only hope of release from one of the most perilous situations—was to reach the sea. The action of the picture is thus described by the artist:

"This, of course, was accepted—they altered their course, and, while the army was in full march over Mount Thèches, the advanced guard, in coming to the top, came suddenly in view of a magnificent valley, with the SEA in the extreme distance, glittering along an extended coast, and mingling with the hazy horizon!

"The whole guard burst out into a furious shout of enthusiastic exultation the SEA! the SEA! was echoed along the whole army, below in the passes; Xenophon, from the uproar, thinking they were attacked, galloped forward with the cavalry; ¹ but seeing the cause, joined in the shout! The feeling was too powerful to be resisted—men, women, and children, the veteran, the youth, the officer, the private, beasts of burden, cattle, and horses, broke up like a torrent that had burst a mountain rock, and rushed, headlong to the summit!

"As each, in succession, lifted his head up above the rocks, and really saw the SEA, nothing could exceed the affecting display of gratitude and enthusiastic rapture!—some embraced, some cried like children, some stamped like madmen, some fell on their knees and thanked the gods, others were mute with gratitude, and stared as if bewildered!

"Never was such a scene seen! as soon as the soldiers recovered something like reason, a trophy on a heap of stones and shields, was erected. The army descended the Colchian Mountains, and reached Trapezus, the modern Trebizon, after a march of 1,155 leagues, during two hundred and fifteen days, where they embarked for their native country.

"The moment I have taken is when Xenophon seeing the sea has rode forward to shout it to the army. He is waving his helmet with one hand, and pointing to the sea with the other, mounted on a skew-bald charger.

"Below the army are rushing up—in the centre is an officer, on a blood Arab, carrying his wife. A veteran soldier on his left is supporting an exhausted youth who has sunk on his shield, and pointing out the path to the army. On the right, is a young man carrying up on his back his aged father who has lost his helmet—the trumpeter lower down, is blowing a blast to collect the rear guard which are mounting behind him, while near the mare's head is the Greek band with trumpets and cymbals encouraging the men. The army is rushing up under an opening of the rock to the left, while the advanced guard of cavalry are trotting down the shelving top of a precipice, the horses excited and snuffing up the sea air with ecstasy."

It would, however, be difficult to convey, by description, the overpowering energy and mighty struggle of the scene before us, or the masterly skill with which the painter has brought within a few square feet of canvass, one of the most astounding events in the history of man. Its moral tendency should be a lasting lesson of the secret spring of honourable success in life—decision of character and well-directed energies to accomplish great ends—though applicable to every station of life, however humble.

Xenophon is a distant figure in this effective picture: his action, as well as that of the cavalry, about him is admirably expressed: he appears on the pinnacle of triumph; his charger snuffs the very gale of glory, and the uncurbed energy of exultation seems to animate those immediately around him. The eye descends to the checkered toil beneath: the brawny soldier bearing the delicate form of his lovely wife, which is well contrasted with the bold, muscular figure of the former: the exhausted youth, and the veteran directing the army, but especially the former, are finely drawn and painted: the bare head of the aged man, with his few last locks fluttering in the wind, contrasts with the burly-headed trumpeter, whose thick throat and outblown cheeks denote the energy which he is throwing into this last inspiring call to victory over difficulty. The head of the soldier's blood Arab is one of the finest studies of the group: you almost see the breath of his nostrils; the hinder parts and tail of the horse are not quite of equal merit. These are but a few of the points of excellence in the picture: its colouring is censurable for its roughness, especially by those who enjoy the smoothly-finished productions of certain British artists; but we may look to such in vain for the powerful drawing and forcible expression which characterize this, the finest of Mr. Haydon's pictures.

In the same room, vis a vis the Xenophon, is the Mock Election picture described at some length in No. 304, of The Mirror. About the walls are thirteen finished sketches and studies also by Mr. Haydon. We may notice them anon.

PAINTING ON GLASS

An exhibition of paintings in enamel colours on glass has been opened at No. 357, Strand, which is likely to prove attractive to the patrons of art as well as to the sight-seeing public. It consists of faithful copies of Harlow's Kemble Family; Martin's Belshazzar, Joshua, and Love among the Roses; Sir Joshua Reynolds's celebrated group of Charity, and a tasteful composition of a Vase of Flowers with fruit, &c. The whole are ably executed, and calculated to advance the art of painting on glass to its olden eminence. The copies from Martin are of the size of his prints, and are perhaps the most successful: that of Joshua commanding the Sun to stand still is powerfully striking: the supernal light breaking from the dense panoply of clouds is admirably executed, and the minuteness of the architectural details and the fighting myriads is indescribable. In the Hall of Belshazzar, the perspective is ably preserved throughout, though the interest of the picture is not of that intense character that we recognise in Joshua. The painting of the Trial of Queen Katherine is of the size of Clint's masterly print: it required greater delicacy in copying than did either of its companion pictures, since it has few of the strong lights and vivid contrasts so requisite for complete success on glass. The costumes are well managed, as the red of Wolsey's robes, and the massy velvet dress of Katherine. Of this print, by the way, there are appended to the Catalogue a few particulars which may be new and pleasant to the reader. Thus:—

"The Picture is on mahogany panel, 1-1/2 inch in thickness, and in size, about 7 feet by 5 feet. It originated with Mr. T. Welsh, the meritorious professor of music, in whose possession the picture remains. This gentleman commissioned Harlow to paint for him a kit-cat size portrait of Mrs. Siddons, in the character of Queen Katherine in Shakspeare's Play of Henry VIII., introducing a few of the scenic accessories in the distance. For this portrait Harlow was to receive twenty-five guineas; but the idea of representing the whole scene occurred to the artist, who, with Mr. Welsh, prevailed upon most of the actors to sit for their portraits: in addition to these, are introduced portraits of the friends of both parties, including the artist himself. The sum ultimately paid by Mr. Welsh was one hundred guineas; and a like sum was paid by Mr. Cribb, for Harlow's permission to engrave the well-known print, to which we have already adverted. The panel upon which the picture is painted, is stated to have cost the artist 15l.

"Concerning this picture we find the following notice by Knowles, in his Life of Fuseli. 'In the performance of this work, he (Harlow) owed many obligations to Fuseli for his critical remarks; for, when he first saw the picture, chiefly in dead-colouring, he said, 'I do not disapprove of the general arrangement of your work, and I see you will give it a powerful effect of light and shadow; but you have here a composition of more than twenty figures, or, I should rather say, parts of figures, because you have not shown one leg or foot, which makes it very defective. Now, if you do not know how to draw legs and feet, I will show you,' and taking up a crayon, he drew two on the wainscot of the room. Harlow profited by these remarks; and the next time we saw the picture, the whole arrangement in the fore-ground was changed. Fuseli then said, 'so far you have done well: but now you have not introduced a back figure, to throw the eye of the spectator into the picture;' and then pointed out by what means he might improve it in this particular. Accordingly, Harlow introduced the two boys who are taking up the cushion." ²

"It has been stated that the majority of the actors in the scene sat for their portraits in this picture. Mr. Kemble, however, refused, when asked to do so by Mr. Welsh, strengthening his refusal with emphasis profane. Harlow was not to be defeated, and he actually drew Mr. Kemble's portrait in one of the stage-boxes of Covent Garden Theatre, while the great actor was playing his part on the stage. The vexation of such a ruse to a man of Mr. Kemble's temperament, can better be imagined than described: how it succeeded, must be left to the judgment of the reader. Egerton, Pope, and Stephen Kemble, were successively painted for Henry VIII., the artist retaining the latter. The head of Mr. Charles Kemble was likewise twice painted: the first, which cost Mr. C. Kemble many sittings, was considered by himself and others, very successful. The artist thought otherwise; and, contrary to Mr. Kemble's wish and remonstrance, he one morning painted out the approved head: in a day or two, however, entirely from recollection, Harlow re-painted the portrait with increased fidelity. Mr. Cunningham, we may here notice, has erroneously stated, that Harlow required but one sitting of Mrs. Siddons. The fact is, the accomplished actress held her up-lifted arm frequently till she could hold it raised no longer, and the majestic limb was finished from another original."

The lights of Love among the Roses are vivid and beautiful: the whole composition will be recollected as of a charming character.

By the way, persons unpractised in the art of painting on glass, or in transparent enamel, have but a slender idea of its difficulties. Crown-glass is preferred for its greater purity. The artist has not only to paint the picture, but to fire it in a kiln, with the most scrupulous attention to produce the requisite effects, and the uncertainty of this branch of the art is frequently a sad trial of patience. Hence, the firing or vitrification of the colours is of paramount importance, and the art thus becomes a two-fold trial of skill. Its cost is, however, only consistent with its brilliant effect.