The result of this continued persecution, says Hayden, was the ruin of “high art;” for the people had not taste enough to feel any sympathy for it independently of religion, and every man who has pursued it since, who had no private fortune, and was not supported by a pension like West, became infallibly ruined.
Historical painters left without employment began to complain. In the time of Edward VI. and Elizabeth we find them petitioning for bread! They revived a little with Charles I. and II. Thornhill got employed in the early part of the last century; then came the Society in St. Martin’s Lane, 1760; and in 1768 was established the Royal Academy, to help high art; but there being still no employment for it, the power in art fell into the hands of portrait-painters, who too long continued to wield it, with individual exceptions, to the further decay and destruction of this eminent style.
THE THORNHILL MIRACLE.
Every one remembers the marvellous story of Sir James Thornhill stepping back to see the effect of his work, while painting Greenwich Hospital; and being prevented falling from the ceiling to the floor, by a person intentionally defacing the picture, and causing the painter to rush forward, and thus save himself. This may have occurred; but we rather suspect the anecdote to be of legendary origin, and to come from no less distance than the Tyrol; in short, to be a paraphrase of a catholic miracle, unless the Tyrolese are quizzing the English story, which is not very probable. At Innspruck, you are gravely told that when Daniel Asam was painting the inside of the cupola of one of the churches, and had just finished the hand of St. James, he stepped back on the scaffold to ascertain the effect: there was no friend at hand gifted with the happy thought of defacing the work, and thus saving the artist, as in Sir James Thornhill’s case, and therefore Daniel Asam fell backward; but, to the astonishment of the awe-struck beholders, who were looking up from beneath, the hand and arm of the saint, which the artist had just finished, were seen to extend themselves from the fresco, and grasping the fortunate Asam by the arm, accompany him in his descent of 200 feet, and bear him up so gently, that he reached the ground without the slightest shock. What became of the “awe-struck beholders,” and why the saint and painter did not fall on their heads, or why they did not serve as an easel in bringing the pair miraculously to the ground, we are not told.
The Painted Hall at Greenwich, contains 53,678 square feet of Sir James Thornhill’s work, and cost 6,685l., being at the rate of 8l. per yard for the ceiling, and 1l. per yard for the sides. The whole is admirably described in Steele’s play of The Lovers.
THE PICTURES AT BUCKINGHAM PALACE.
The pictures which now constitute the private gallery of her Majesty at Buckingham Palace, were principally collected by George the Fourth, whose exclusive predilection for pictures of the Dutch and Flemish schools is well known. To those which he brought together here, and which formerly hung in Carlton House, her present Majesty has made, since her accession, many valuable additions—some purchased, and others selected from the royal collections at Windsor and Hampton Court; others have been added by Prince Albert, from the collection of the late Professor d’Alton, of Bonn. * * * George IV. began to form his collection about the year 1802, and was chiefly guided by the advice and judgment of Sir Charles Long, afterwards Lord Farnborough, an accomplished man, whose taste for art, and intimacy with the king, then Prince of Wales, rendered him a very fit person to carry the royal wishes into execution. The importation of the Orleans gallery had diffused a feeling—or, it may be, a fashion—for the higher specimens of the Italian schools, but under the auspices of George IV. the tide set in an opposite direction. In the year 1812, the very select gallery of Flemish and Dutch pictures collected by Sir Francis Baring was transferred by purchase to the Prince Regent. Sir Francis Baring had purchased the best pictures from the collections of M. Geldermeester of Amsterdam, (sold in 1800,) and that of the Countess of Holderness, (sold in 1802,) and, except the Hope Gallery, there was nothing at that time to compare with it in England. Mr. Seguier valued this collection at eighty thousand pounds; but the exact sum paid for it was certainly much less.
The specimens of Rubens and Van Dyck are excellent, but do not present sufficient variety to afford an adequate idea of the wide range or power of the first of these great painters, nor of the particular talent of the last. On the other hand, the works and style of Gerard Douw, Teniers, Jan Steen, Adrian and Wilhelm Vandevelde, Wouvermans, and Burghem, may be very advantageously studied in this gallery, each of their specimens being many in number, various in subject, and good in their kind. Of Mieris and Metzes, there are finer specimens at Mr. Hope’s and Sir Robert Peel’s; and the Hobbimas and Cuyps must yield to those of Lord Ashburton and Lord Francis Egerton. But, on the whole, it is certainly the finest gallery of this class of works in England. The collection derives additional interest from the presence of some pictures of the modern British artists—Reynolds, Wilkie, Allan, Newton, Gainsborough. It is, however, only just to these painters to add, that not one of their pictures here ought to be considered as a first-rate example of their power.—Mrs. Jameson.