HENRY HOWARD, R.A.
Mr. Howard, the well-known Secretary and Professor of Painting to the Royal Academy, died October 5, 1847, in the seventy-eighth year of his age. He was born in 1770; and was at Rome in 1794, when, in his twenty-fourth year, he forwarded his first work, “The Death of Cain,” to the Royal Academy Exhibition. In 1807, he painted “The Infant Bacchus brought by Mercury to the Nymphs of Nysa;” and in the autumn of the same year, he was elected a Royal Academician. Of his fellow academicians, in 1848, only two out of forty survived—Sir Martin Archer Shee, and Mr. J. M. W. Turner. Others, however, elected after him, had died before him—Callcott, and William Daniell, for instance; Wilkie, Dawe, Raeburn, Hilton, Collins, Jackson, Chantrey, Constable, and Newton. His diploma picture on his election was “The Four Angels, loosed from the River Euphrates.” For fifty-three years, from 1794 to 1847, Mr. Howard never missed sending to a Royal Academy Exhibition. It would be difficult, perhaps, to find another example of such assiduity; yet, where his pictures went—for he had few or no patrons, so called—it is hard to say. Banks and Flaxman, the two great sculptors, took notice of Howard’s early efforts, gave him friendly encouragement in all he did, and suggested, it is said, new subjects for his pencil. Yet, his pictures were very popular; they are classically cold; his place, therefore, in the history of Art is not likely to be high or lasting.
ORIGINALS OF HOGARTH’S MARRIAGE A-LA-MODE.
In 1841, Messrs. Smith, the eminent printsellers, of Lisle-street, had the good fortune to discover in the country a duplicate set of the pictures of “The Marriage à-la-Mode,” by Hogarth; which appear to have escaped the researches of all the writers on his works. They are evidently the finished sketches, from which he afterwards painted the pictures now in the National Gallery, which are more highly wrought. The backgrounds of these pictures are very much subdued, which gives a greater importance to the figures. They became the property of H. R. Willett, Esq., of Merly House, Dorsetshire, who added them to his already rich collection of Hogarth’s works.
These pictures of “The Marriage-à-la-Mode” are painted in an exceedingly free and sketchy manner and are considered to have been most probably painted at the same time as the four pictures of the Election, now in the Soanean Museum, the execution of which they very much resemble. There is a considerable number of variations between these and the National Gallery pictures; and such differences throw much light upon the painter’s technical execution, which is somewhat disputed. “Although in some respects rather sketchily handled,” says a critic, “they are not painted feebly; and if they cannot be called highly finished, these productions are worthy to rank as cabinet pictures. To be fairly understood, (to use Charles Lamb’s happy expression,) ‘Hogarth’s pictures must be read, as well as looked at.’ ”
HOMAGE TO ART.
The first great painter in encaustic, of whose works lengthened descriptions have been handed down, was Polygnotus. He painted his celebrated “Triumph of Miltiades and the Victors of Marathon,” by public desire; and such was the admiration in which it was held, that the Athenians offered to reward the artist with whatever he might desire. Polygnotus nobly declined asking anything; upon which the Amphictionic Council proclaimed that he should be maintained at the public expense wherever he went. Such was the homage of a whole nation! What, then, shall we say to the sentiments of the narrow-minded prelate, who declared that a pin-maker was a more valuable member of society than Raphael!