common, so much an every-day affair, that he gets very little credit
therefor; and yet, that he will rise with great exactness, aside from all
human calculation, and go on traversing the sky with a wonderful
regularity that nothing can stop, is a very pleasant fact touching the
prospect of to-morrow; and so also, that every thing in nature will be
wrought with marvellous beauty and harmonies of sound; and oh! most
satisfactory of all, there will still be an air that properly inhaled
fills the _heart_ as well as the lungs. It is from a calm consideration of
this fact, that we have done with the _eagerness_ of pleasure. No daily
counting of hours to see that all have been properly brimmed; no grasping
at a dozen things at once; no draining of the very dregs, lest that may be
the last bottle, and we die to-morrow. But thankful as we are for
to-morrow, and especially grateful for to-day, we don't care for
noon-marks. We have kept no count lately, and for aught we know, Time may
have stopped, but probably not. He is doubtless somewhere about, but we
take no particular notice. Our watches have run down, and we care not to
wind them again. The hours, if there are any, are all golden, and we have
no occasion to note the passage one to the other; or if we start them,
just to see the motion, they run on diamonds of the purest water; but
mostly, whether it be morn, or mid-day, or the starry night, Sabbath or
week-day, it is all one--all beautiful. Does it rain? It is quite proper.
The earth needs it, no doubt, and it will look the more grateful therefor.
Does it shine? Why then the birds will sing, and if they will come a
little nearer, we will teach them that charming air from the last opera.
Does a new star come out in heaven, or an old one disappear? The one will
be an added glory, and the other not much missed; but they will little
concern our astronomy. Expect no more rhapsodies, my friend, unless it be
upon the wonderful ease with which every thing can be done without them.
That we find all things pleasant, is the extent of our poetry. It is
pleasant to wake; it is pleasant to sleep; it is pleasant to wake and
sleep again; pleasant to watch the opening lid, and pleasant the smile
that follows it; pleasant are kind words and tones, the touch of hands,
and the touch of lips; the breath of flowers and those that love them;
pleasant are the thousand infinitesimals, like the motes of the sun-beam,
not less bright because of their minuteness; and pleasant the thought that
sufficient as this heaven may be, there is another one above. And
doubtless it is pleasant to breathe as usual, and feel the heart send
round its currents with a touch of joy; but oh, pleasanter than all, to
have no sigh or throb, to remind you that that breath must one day stop,
and that warm blood turn cold. Oh! in the 'time' that is set apart 'for
all things,' may heaven look kindly on and count these trifling hours!
'Shall we ever leave this charming retreat? Certainly not, while these
things last; but it is not impossible that we may return with the cold
weather. Meanwhile, I have made a chalk-mark about the grounds, and as yet
nothing with a bite or sting has passed over it. Mrs. JULIAN, as she now
insists upon being called, has become highly contemplative; and if I did
not know that she was never so happy before, I should think her sometimes
a little sad; she is so quiet, so demure, and so eternally bewitched with
that boy! Why Sir, she will sit for half a day over the fellow, amusing
herself and him with I know not what varieties and wonders of invention;
with lullabies and ditties and homoeopathies of language; and if he
condescend to sleep for a few moments, how divinely still must every thing
be! What infinite care is there in pinning the screen; what fortifications
are built round about him; and what a world of protection in every
movement! And then, when all is complete, she must still sit there, with
that strange upward look which she has acquired lately, seeming to reach
quite beyond the stars. She is a strange woman! Yesterday, having dined
rather late, I happened to forget myself for a few moments on the lounge;
and on waking, I found her kneeling before me, and looking up in my face
with an expression that to me is peculiarly embarrassing; not the quick,
joyous look, followed as quickly by the touch of lips; not that, but
something quite indescribable. Perhaps I am not as considerate as I ought
to be on such occasions, for doubtless she knows what she would be at, but
I confess I do not. Indeed, she is constantly bringing out new points and
flourishes, which to me are all vowels of the Hebrew; no doubt very sweet
and musical, and certainly very necessary to the sense of the reading, but
they are past all finding out. When she dazzles me with these brilliants,
I sometimes reply in the Tartar, and so we are quits.
'Young JULIAN developes slowly. He has smiled once or twice, but in a
manner so precocious, that it would be alarming, if he were at all
delicate. Fortunately he is not. His utterance as yet is quite
unintelligible, though no doubt he has his meaning. To Mrs. JULIAN it is
all poetry. '_Poeta nascitur_' may be quite true, but if he rhymes, which
is quite possible to her ear, I am constrained to think that it is
entirely accidental. I hope, at least, that he is not so viciously gifted.
. . . HAVE I told you that she refuses a nurse, and that too pretty
sharply? Well, that is not all; I can hardly touch the boy myself. She is
so afraid I shall crush it! My raptures, she says, are not becoming; she
even says that I 'frighten the child!' But she is the strangest of women!
Last night, happening to wake some time in the small hours, I heard a
slight noise in the room, and emerging from a dream, in which I remembered
to have heard a good deal of crying and hushing, I listened intently for
some moments, but couldn't for my life guess what it could be. There was
nothing moving in the room, and the sound appeared to arise from some slow
and uniform movement, so that it couldn't be the wind on the shutters; and
if the mocking-birds had been sufficiently awake to swing, as they
sometimes do, they would certainly have dropped a word or two, for they
are great talkers. Now I often hear bells, fire-arms, and exclamations,
and very often hear my name called, and questions asked, to which I reply
in due form, all which I _know_ at the time to be imaginary; but this
sound, though it seemed to be familiar, I couldn't make out. I was so
drowsy, however, that I had half a mind to consider it a dream; but then
what if any thing should happen? I should be responsible. Rising,
therefore, very carefully, not to disturb Mrs. J., I discovered by the
shaded light on the table that she was quite sound asleep; but what was
wonderful, her right arm, outside the bed, was moving up and down with the
regularity of a pendulum! What the deuce was all that? Well, Sir, I bent
over breathlessly, and found she was pulling at a string! And what, O
EDITOR! who ought to know every thing, what do you think she was pulling?
Why, Sir, she was pulling at young JULIAN'S cradle. She was rocking the
baby in her sleep! Oh!'
* * * * *
Apropos of 'the baby': an agreeable correspondent, from whom we shall be
happy to hear 'frequently if not oftener,' intimates to us that our friend
JULIAN, when the 'lactiferous animalcule' whose advent into this breathing
world he lately described in such glowing terms, shall have reached a more
mature babyhood, may find occasion to 'change the paternal note;' and he
cites for us the following passage, from an essay by a sometime
contributor to the KNICKERBOCKER, 'in justification of his fears:'
'In my bachelor visitations to my married friends, I have often
chuckled over the bashfulness, contending with love, which
distinguishes the YOUNG FATHER. In the pride of his heart,
perhaps, when his little man has first given evidence of that
degree of mental exertion called 'taking notice,' he clasps the
crowing baby in his arms; he rests its lily feet upon his knees;
he endures with philosophic patience all the 'gouging,' and
pulling, and kicking, with which the young hero may testify his
triumph; and while the young mother stands by, her eyes beaming
with mingled love and pride, he becomes warmer in his romps; makes
faces, as the nerveless fingers of the little one seek, with more
earnestness, his eyes, or pull with a greater effort at his lips;
and amid screams of laughter, he chases the flying hours, until at
length a 'pale cast of thought' flits over the baby's face, like a
cloud in a summer sky. This is the signal for immediate
seriousness. The father grows grave--then frightened. He raises
him gently from his lap, and with a single exclamation of 'Take
him mother!' consigns the precious charge to her arms, and darting
a hasty glance at his 'pants' he walks in silence from the room.
Nor do we bachelors always escape with impunity. Anxious to win a
smile from some fond mother, more than one of us may have dared to
approach, with a kiss, the hallowed lips of her darling. But mark
the quick wing of vengeance! Darting from its lurking place in the
mouth, out flies the little doubled fist, and slams a
well-beslabbered biscuit into the face of the intruder. He
recoils, with his 'reeking honors fresh upon him,' and the little
squab coos in triumph at his failure.'
NATIONAL ACADEMY OF DESIGN.--The growing interest felt in relation to the
Fine Arts in this country, and the influence which the NATIONAL ACADEMY OF
DESIGN has had in producing that interest, make it imperative upon us to
notice the pictures which are annually sent to this exhibition. In passing
through the Academy with this object in view, we have been at some loss to
know where to begin. Finding however by chance at the end of the catalogue
an alphabetical arrangement of the exhibitors' names, we have adopted this
as the best method of laying the merits of the several pictures before our
readers. We therefore begin with:
V. G. AUDUBON, A.--Mr. AUDUBON exhibits four pictures this season: of
these, No. 133, 'Grove of Palm-trees' in the Island of Cuba, we prefer.
This picture appears to be a faithful representation of the scene, and is
handled with a free and firm pencil. The trees are perhaps a little too
literally represented, to be agreeable to the eye, consisting as they do
of so many equally straight and unpicturesque lines. No. 237, 'Moon-light
Squall coming up,' is a pleasing representation of one of Nature's
poetical moments. The light is clear and silvery, and the water
transparent and truthful. The whole scene is interesting, and there is but
little to find fault with; although perhaps parts would admit of more
warmth of color.
J. D. BLONDELL has six pictures, the majority portraits. No. 80, 'Portrait
of a Lady,' half-length, is a pleasing picture; warm in color and
carefully painted, and gives evidence of rising talent. The head is
perhaps slightly deficient in careful drawing; but few artists are
competent to paint a lady's portrait; and this gentleman should not feel
discouraged, though his work be found slightly deficient in that grace
which is so difficult of attainment.
BODDINGTON, (London,) exhibits three landscapes, all in a style peculiarly
belonging to the English school. They possess great charms; facility of
execution, and delicacy of handling.
BONFIELD.--No. 168 is perhaps the best of his productions. If it were not
for the pinky hue of the sky, this would indeed be a charming picture.
F. BAYLE.--No. 25; 'Picture-Dealer.' A deep-toned, carefully-painted
picture, and evincing much promise in so young an artist. We are glad to
perceive that it is purchased by the American Art-Union.
G. L. BROWN.--No. 400; 'View of the Tiber.' Too much of an imitation of
old pictures. In seeking this quality, the artist has lost sight of the
truth and freshness of nature.
CHAPMAN, N. A.--Mr. CHAPMAN presents nine pictures this season, and all in
his usual brilliant style. No. 116, 'Peasant Girl of Albano,' is
exceedingly rich in color, and forcible in effect: a few cool tints about
the head-dress would give perhaps still greater value to the warm tones.
No. 189, 'Hebrew Women,' is this artist's gem of the year. Well composed,
pleasing in color, and carefully finished, it expresses the occurrence
with fidelity and truth. No. 204, 'Boy in Indian Costume,' is an
attractive picture; but No. 213, 'On the Fence,' is more to our liking.
The story is well told; the city beau is carefully and truly represented;
and the dogs are admirable. No. 263, portrait of Doctor ANDERSON, the
father of wood-engraving in this country, is capital. No. 266, 'Lazy
Fisherman,' is Laziness personified. No. 341, 'Sketch from Nature,' in
water-colors, is an exemplification of this gentleman's versatility of
talent.
J. G. CLONNEY, A., has two pictures in the exhibition, Nos. 7 and 160. No.
7, 'The New-Year's Call,' is decidedly the best. The negro is well
painted. Mr. CLONNEY'S works generally evince great observation of nature
in this class of subjects.
T. COLE, N. A.--Mr. COLE exhibits but one picture, and that comparatively
a small one. It possesses however many of the admirable characteristics of
his works, particularly his early ones. It would be difficult to find a
middle-ground and distance surpassing those of this picture.
T. CRAWFORD, (Rome.)--Mr. CRAWFORD gives us two full-length statues, in
which the charm of the _marble_ is strongly apparent. Mr. CRAWFORD, we
grieve to say, is evidently too impatient in the finish of his works to
produce that correctness which is essential to a high effort of art.
J. F. CROPSEY.--No. 68, 'View in Orange County,' is a careful
representation of nature, and has the appearance to our eyes of having
been painted on the spot; a practice very rarely to be found in young
artists. A continuance in this course will place this artist in a
prominent position as a landscape-painter. The sky is faulty in color,
being too purple to meet our views of nature; and there is a lack of
delicacy in the more receding portions of the work. But the fore-ground is
carefully painted, and full of truth.
CUMMINGS, N. A.--Mr. CUMMINGS has but one picture. It possesses however
the careful finish, gentlemanly character, and general truthfulness, so
characteristic of this fine artist.
T. CUMMINGS, JR., a young artist. No. 149, 'The Ball,' is his best work.
In thus attempting a subject of great difficulty of execution, he evinces
promise of future ability. The picture has many pleasing points, marked
however with some errors, which time and practice, let us hope, will
correct.
C. CURTIS.--Mr. CURTIS has two pictures in the exhibition, and both of
merit. No. 196 is among the best heads in the collection.
J. W. DODGE, A.--'Miniature Portraits.' Those of HENRY CLAY and Gen.
JACKSON are the most prominent. The likenesses are good, and the pictures
carefully finished; a merit in works of this character frequently
unattended to. There is, however, a want of dignity sometimes to be found
in Mr. DODGE'S portraits, which we could wish to see remedied: it would
give an elevation to his paintings which they at present lack.
PAUL P. DUGGAN.--'John the Baptist' is a model in plaster, which displays
greater knowledge of anatomy than we are in the habit of finding in the
works of even older artists. In this respect it possesses great merit. We
understand it is his first effort in modelling. As such, it is truly a
work of the highest promise.
DURAND, N. A.--Mr. DURAND has contributed largely to the present
exhibition, in every sense of the word. His most prominent production is
No. 36, 'The Solitary Oak.' For an exhibition-picture, perhaps it is not
so striking as some of his previous works; yet it will bear examination
better. Without any effort at warmth of color, it has that glow of
sunlight which it is so difficult to express. A veteran tree, standing
alone upon a gentle eminence, stretching forth its giant arms, that have
withstood the storms of centuries, is truly a noble subject for an artist
of Mr. DURAND'S reputation; and most truly has he depicted it. The
distance is beautiful, and the introduction of cattle seeking their
evening shelter gives an interest seldom to be found in works of this
class. Should we attempt to find a fault, it would be the want of a little
more warmth and clearness in the dark parts of the fore-ground. No. 134,
another charming landscape; true to nature, of a silvery tone, and most
exquisite sweetness of color and delicacy of touch. Nos. 181 and 258 are
two careful studies from nature, wherein special care has been given to
the trunks of trees, a feature in landscape-painting upon which sufficient
attention is rarely bestowed. No. 244, 'Emigrant Family,' is full of
interest. The travelling family are encamped under the shade of the trees,
and the kettle hung over the fire shows that they are evidently preparing
to refresh themselves for farther toil and journeying. The foliage of the
trees is elaborately executed; the distance is well preserved; and the
whole possesses great truth to nature; perhaps however, like all '_green_'
pictures, it is less attractive in an exhibition than works of a warmer
color. No. 163, 'Portrait of a Gentleman,' has great force, and shows the
artist's versatility of genius.
F. W. EDMONDS, N. A.--No. 105, 'Beggar's Petition,' is a spirited and
faithful representation of the cold indifference to the wants of others,
displayed in the miser's disposition. The figures are of life-size, and
well drawn. The female supplicating in behalf of the distressed, is
graceful in attitude, and admirably contrasted with the hoarding miser.
No. 205, 'The Image Pedler,' is an effort of a higher order; for the
artist has attempted, and successfully too, to elevate the class of works
to which it belongs. In short, he has invested a humble subject with a
moral dignity, which we hope our younger artists, who paint in this
department, will not lose sight of. An independent farmer has his family
around him, apparently immediately after dinner, and a strolling pedler
appears among them, to dispose of his wares; and this gives interest to
the whole group. The grandmother drops her peeling-knife, and the mother
takes her infant from the cradle, to gaze at the sights in the pedler's
basket. The husband, who has been reading in the cool breeze of the
window, turns to participate in the sport; while the grandfather takes a
bust of WASHINGTON, places it on the table, and commences an earnest
elucidation of the character of the, 'Father of his Country' to the little
children around him. All the figures are intelligent, and the whole scene
conveys to the mind a _happy family_. In color, light and shade, and
composition, it is masterly; and we see in it that minuteness of detail
and careful finish are not incompatible with a broad and luminous effect.
C. L. ELLIOTT has five portraits in the exhibition. His 'Full-length of
GOV. SEWARD' is a prominent one, although not his most agreeable picture.
No. 61 is we think the best, and is a well-managed portrait, both in
drawing and color.
G. W. FLAGG, H.--No. 63, 'Half-length of a Lady,' has considerable merit.
It is rich and mellow in color, and better we think than many of Mr.
FLAGG'S recent works. No. 208, 'The Widow,' is a popular picture; pleasing
in expression, and possessing more refinement of character than is
observable in many of his other portraits. No. 102, 'Bianca Visconti,' we
do not admire.
G. FREEMAN.--Miniature portraits, generally large, and highly finished.
This gentleman has lately arrived from Europe, and is we believe a popular
artist; yet we do not like his productions.
J. FROTHINGHAM, N. A.--Nos. 32 and 35: portraits exhibiting Mr.
FROTHINGHAM'S usual bold and free style in this department of art;
remarkably fine likenesses; true in color, and of pleasing general effect.
H. P. GRAY, N. A.--Mr. GRAY exhibits a number of his works this season. He
seems to us to sacrifice every thing to color; and his color is not such
as is generally seen in nature, but rather what he has seen in pictures.
This we think a mistake, and one which we must be permitted to hope he
will rectify. In the pictures which he formerly painted, a much closer
attention to nature is observable. Mr. GRAY has all the feeling of an
artist, with no ordinary talent; and we regret to find that he wanders
from the direct path. We were among the first, if not the very first, to
call public attention to his merits, and it is with reluctance that we
perform the duty involved in these animadversions. 'Comparisons,' DOGBERRY
tells us, 'are odorous;' we cannot help remarking, however, that Mr.
GRAY'S old fellow-student, HUNTINGTON, is (_longa intervallo_) in the
advance. We prefer, of our artist's present efforts, the picture of 'His
Wife.' It has a pleasing effect, and is more finished than usual, and more
natural in tone than his 'Magdalen.'
J. T. HARRIS, A., has two pictures, and both portraits. No. 19 is the
best. It exhibits a broad, free touch, and correct drawing, and is withal
an excellent likeness. But we never look at Mr. HARRIS' works without
being impressed with the idea that they are not finished. They seem to us,
to borrow an artistical expression, as if they were in a capital state for
'glazing and toning up.' Otherwise, they are above the ordinary run of
portraits.
G. P. A. HEALY, H.--Mr. HEALY is a resident of Paris, but an American. He
is a favorite at the French court, and has by this means a reputation to
which his works generally do not entitle him. We are bound in justice to
say of his present effort, however, that it is an exceedingly fine
picture. It is boldly and masterly executed; forcibly drawn, honestly
colored, and well expressed. There is too about it a freedom from all the
usual tricks of the profession, such as a red chair, velvet collar, and
fantastic back-ground, which we particularly recommend to the attention of
young artists.
THOMAS HICKS, A., has eight pictures in the collection, but none,
excepting his portraits, which equal his former productions. No. 264, 'The
Mother's Grave,' is an oft-repeated subject, and should not be attempted
unless the artist is able to treat it with entire originality. There are
good points about it, but none sufficiently attractive to warrant
particular notice.
INGHAM, N. A., as usual has a fine collection of female portraits, all
excellent for their careful drawing, lady-like expression, and high
finish. The drapery and accessories of Mr. INGHAM'S portraits are always
wonderfully exact to nature; and this greatly enhances the value of
portraits of this description; for aside from their merit as likenesses,
they will always be valuable as pictures. His male portrait, No. 113, of
T. S. CUMMINGS, Esq., is a most admirable likeness, as well as a
highly-wrought and masterly-painted picture. No. 239, 'Portrait of a
Lady,' with a fan in her hand, is our favorite among his female heads.
There is a sweetness and modesty in the expression, not only in the
countenance but in the whole figure, which makes it peculiarly attractive.
H. INMAN, N. A.--No. 62, 'Portrait of the late Bishop MOORE, of Virginia,'
is the admiration of all who behold it. In color it surpasses any thing of
Mr. INMAN'S we have seen in many a day. Clear and luminous, with great
breadth of light, and a mild, pleasing expression. We of course mean this
to apply to the head. The hand and part of the drapery are not, in our
judgment, so well done. No. 104, 'Lady with a Mask,' we do not altogether
like; yet it is remarkable for being foreshortened in every part, and
possesses that singular charm of light and shadow, and accidental effect,
which are the characteristics of our artist's pencil. No. 314, a
Landscape, although small, is delicately handled, and 'touched in' with
great neatness and accuracy. In effect it is attractive, and in color
pleasing. The figure in the fore-ground equals in care and minuteness of
finish the manner of WOUVERMANS.
N. JOCELYN.--No. 57, 'Portrait of Professor SILLIMAN,' a faithful
likeness, and carefully-painted portrait of a distinguished individual.
No. 2, 'Portrait of a Child,' is another finished picture by this artist;
clear and pearly in color and infantile in expression.
ALFRED JONES.--No. 301, an engraving from MOUNT'S picture of 'Nooning,'
for the American Art-Union, is one of the largest line-engravings ever
published in this country, and a work of high order. This style of
engraving has heretofore received so little encouragement, that until the
Art-Union started it, no one except Mr. DURAND had ever before dared to
attempt it. This effort of Mr. JONES does him great credit.
M. LIVINGSTONE, A., has several works in the exhibition, but we cannot
rank them among the higher class of landscapes. They lack the poetry of
landscape-painting; but as amateur productions, they are very good.
E. D. MARCHANT, A.--All portraits, but none of high merit. Mr. MARCHANT is
a persevering artist, who paints good likenesses and pleasing pictures;
and so far, is doubtless popular with those who employ him.
JOHN MEGAREY has two portraits, and those far surpassing his former works.
They are carefully painted, without an effort at any thing beyond the
subject before the artist.
We shall resume and conclude our remarks upon the exhibition in our next
number.