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 15_l_.
"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.
[2] Quoted in Cunningham's Life of Harlow.
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