merit, demands of us candidly and frankly to declare, that the pictures of Trott are worthy of being ranked with the works of those celebrated artists. To represent any object, natural or artificial, with accuracy, is a matter so difficult, that any proficiency in the art of delineation attracts our attention. There are, however, certain mathe. matical rules, aided by various machines, that enable the portrait painter to ascertain the proportions and distance of the leading features of any object; and with industry, without a particle of genius, he may acquire considerable fame as a mere face-painter. The shape, distance, and even colour of the human features, with studied attitudes, are but of little moment without the mind, or what is generally denominated character. We know but little of practical painting; but from an unremitted attention and love for the arts, we venture to affirm that none but a superior genius can be a superior artist. To paint a portrait, stiff, prim, and formal, requires but little talent; but to paint with ease, dignity, and expression, and to generalize the character, requires all the energies of a superior mind. It is indeed true, that every stupid fool, who is rich, may have a portrait of himself; but it is equally true, that the stupid are often rendered more so, by the ignorance and stupidity of some painters. We have seen many of Stuart's pictures where the living originals did not appear to be overburdened with sense; but in no instance have we seen his portraits wanting in dignity and expression. We have lately seen, in a morning paper, some very illiberal remarks on miniature painting, written evidently with a view to bring that very pleasing and important branch of the arts into contempt; we have also seen an article written in reply, the writer of which has displayed so much talent, and has treated the subject in a style so masterly and appropriate, that we have considered it of importance to introduce it, as it perfectly corresponds with our own observations on portrait painting in general. VOL. II. "Paint by the acre, let your canvass spread Broad as the mainsail of a man of war; Just as the sun licks up each sneaking star.”—Peter Pindar, S "The writer of an article, in a morning paper, on the late exhibition at the Academy of Fine Arts, in adopting an opinion that pictures are only valuable in proportion to their size, seems to have taken the above ludicrous couplet of the facetious Peter Pindar as a fact, and proceeds upon his premises accordingly. After speaking of several painters and their works, with which we have nothing to do in this place, he tells us "two miniature pictures, by Trott, attracted unusual attention and admiration." Flattering, indeed, would this appear to Mr. Trott: but mark the sequel; and wonder not that two such petty things should obtain praise-it was the praise of an ignorant multitude, nowise versed in the dark mysteries of painting; but with the eyes that God has given them, and unacquainted with the jargon and technical terms of art, guided only by the spontaneous and unsophisticated effusions of nature-they, with an unbecoming boldness, dare to look and judge for themselves! If Mr. Trott could be pleased with the praise of people of this kind, he seems to have some cause for gratulation; but, alas! even that pleasure is of short duration. Ere he can taste of the temperate cup, the writer of the article, in the very next paragraph, like another don Pedro positive, is ready with his wand to dash it from his lips! We shall now quote the paragraph of the writer: "The number of miniatures too, was less than formerly; but some of them were certainly in the highest style of excellence. Two, by Trott, attracted universal attention and admiration. After all, however, this branch of the art is so petty, so like teacup painting, that it is a pity so much talent as Mr. Trott possesses should be wasted upon it: indeed some of the French china surpasses it in delicacy, in colouring, and in expense-it should be the employment of little misses, and in some parts of the world is practised by woThe artist, however meritorious, is but a mere ephemeron to provide presents for lovers, and ornaments for the toilet, which are thrown into some obscure drawer when the lover cools or the fashion changes: neither his work nor his reputation have any permanent existence." Such is the language; I hope, however, not the opinion of the writer, upon that branch of the art called miniature painting. We hope to be forgiven if we should dwell longer upon the examination of this article than at first men. sight would appear necessary. To painters, and those really acquainted with the difficulties and relative merits of the art, it would be unnecessary to explain: in fact, we do not know but in that case it would be more absurd than the thing we are about to analyze. To them at first blush it must carry so much absurdity upon the face of it, that although they might feel a momentary indignation at the boldness and absurdity of the author, it would soon give way to feelings of a more mixed and pleasant kind, and finally terminate in an involuntary burst of laughter. "After endeavouring to convince us of the total insignificancy of miniature painting, and that he has seen teacups more beautiful and more expensive; to reduce it, as he thinks, still lower, and place it in the most degrading light, he tells us that in some parts of the world it is even practised by women. "Grant me patience, Heaven!" what a satire upon this your "last best gift!" Woman!—and what is not woman caple of, where talent and virtue are required, that man can do? For our part, we believe them possessed of every excellence, and every virtue, that adorns human nature. The names of Kauffman, Le Brun, and many others, attest their skill and excellence in the art of painting; whilst the page of history records the names of thousands, who have excelled in every branch of art and of learning. There is at present a lady in England who paints miniature pictures on ivory, which are so exquisitely beautiful that she has received the sum of one hundred guineas for a single portrait. What vandals they must be in England-we suppose it is the same in France' to give so much money for such a petty thing. They never can have seen those beautiful teacups mentioned by the writer! But after all, portraits might be painted on teacups, and very well painted too; but in that case the cup must be square or it would destroy the picture-this admitted, however, we see no reason why teacups, "arranged in goodly row," on the mantlepiece, with a portrait on each, should not have as good an ef fect as many pictures have that are stuck against the wall; besides what amusement it would afford the ladies while taking tea! what an opportunity while sipping the balmy beverage, and looking their pictured friends in the face, of descanting on the virtues and amiable qualities of the originals! The writer next proceeds to tell us, "that the artist is a mere ephemeron to provide presents for lovers and ornaments for the toilet, &c. &c. that when the lover cools or the fashion changes they are thrown away or thought of no more." What a mortifying thing to bachelors, who ever intend getting married, to be told that not only love but even friendship subsides so soon after the nuptial tie! It certainly infers this, for even common friendship would induce them to look on the picture with complacency, to say no. thing of common taste, which would preserve the picture, if well executed, whether the original was regarded or even known. But our friend and well-wisher, for we will presume you to be so, suffer us to tell you, you have not hit on the right cause why miniature pictures are so soon thrown away after marriage. If it be the case, as you assert, the reason then is, that ninety-nine out of a hundred of the common run of miniature pictures are not at all like the originals, and have likewise as little to recommend them, as works of art, as the pictures on your china cups. We will now inform you, as you certainly appear to be ignorant, what a good miniature picture is; what are its merits, and how it is appreciated by every one who has a particle of taste. A good miniature picture should have the same appearance that the best oil portrait, painted large as life, produces when viewed through a diminishing glass. The miniature painter requires the same knowledge of the art that the best portrait painter possesses; but as he has to produce the same effect in so small a compass, he has more difficulties to encounter in the execution than the oil painter has, and much more time is required for the completion. In the city of London there are, perhaps, five hundred miniature painters, and not more than four or half a dozen individuals among them who excel. The number serves to show how generally pleasing this branch of the art is. The few that excel gives the reason why apparently so high a price is paid for a good miniature picture. Miniature pictures have many advantages over portraits large as life. In many cases we cannot help looking upon large portraits as an ostentatious display of self-love: a miniature picture may be incased or it may be hung up: the portrait is constantly staring from the wall. For our part we would not wish the portraits of our friends constant ly before us there are times when we would retire to hold silent but pleasing converse with them in the persons of their pictures. In Europe, among the rich and the noble, miniature pictures are exceedingly valued; and as the writer of the article on which we are commenting might say, they are put in the "high places." A man might have his whole line of ancestors preserved in miniature in a small cabinet (no unpleasing thought!) where it would be impossible to have large pictures of them. Even the writer just alluded to, when the all-sweeping hand of time shall consign his body to the grave, and his portrait to the garret-shall 'take at once the poet and the song,' and bury him and his works in oblivion-even he might live some time in the memory of many people by the aid of a well-painted miniature picture." 75. Children and Bubble.-C. King. "Philosophers, like children, sometimes choose, "To chase the bubble and the substance loose." This picture is entitled to much praise. The subject is fanciful and executed with considerable judgment: there are some parts, especially the cat on the table looking up at the bubble, that attracted our attention: we are, however, inclined to believe that the artist has laboured more on this picture than was necessary, particularly the colouring. 87. Portrait of a young lady with a parrot.-J. Worrell. There is something about the works of this young artist that promise much of future excellence: although defective in what may be termed the mechanical parts of the art, his pictures nevertheless possess much character, and we have no doubt, with proper application, Mr. Worrell will attract distinguished notice as an artist. 92. Death of Julius Cæsar.-(from West.)-J. Paul. This picture was painted many years ago when the artist was very young. It was taken from a print after West. The figures are large and painted with great truth. From the excellence of this early production of Mr. Paul's, we are inclined to believe that had he turned his attention to historical instead of portrait painting, he would have ranked very high in the highest department of the arts. |
