THE FINE ARTS.

"My life's employment and my leisure's charm,
My soul's first choice, my fancy's early flame;
My chance of fortune and my hopes of fame."

Shee.

There is no subject on which mankind more unhesitatingly decide, than upon the productions of the pencil, and none perhaps upon which the people of our own country especially, are so little qualified to form a correct judgment. Few works of any excellence ever reach us, and these are for the most part confined to the large cities, where those who visit them are more attracted by the subject than the execution of the painting. A striking illustration of this, may be found in the crowds which rushed a short time since, to see the immodest and demoralizing exhibition of our first parents in a state of nudity—an offence for which Ham was accursed to be a servant of servants to his brethren; and yet our modest maidens, attended by their equally modest beaux, hastened in company to view this production of Parisian profligacy. At the same time, the splendid painting of "Christ rejected" by the eminent West, scarcely attracted notice; and the beautiful "Star of Bethlehem" by Cole, twinkled in an empty hall. Still no one doubts his own intuitive knowledge of the arts!—He does not, indeed, profess to understand the modus operandi, by which they are perfected,—but yet he knows exactly what delights him, and with equally becoming modesty, knows how to censure what he does not like,—although to the real connoisseur, the work condemned may perchance be one of superlative beauty and value. There are some who fall into raptures at Cimmerian darkness and obscurity in a picture; they have heard that the works of the old masters are very dark,—ergo, all black pictures must be very good. Some have heard that Reubens and Rembrandt, painted with a bold free pencil,—and every daub is therefore free and bold; and there are others the very antipodes of these, who would have the canvass ivory smooth, and always test the excellence of a picture with their finger's ends. Such are the arbiters of taste, to whom the artist must look for patronage and favor; to whose critical acumen he must sacrifice the highest professional attainments, and all the poetry of imagery, for the prosing portraiture of vulgar nature as the uninstructed eye perceives it. Against such critics, Sir Joshua Reynolds warned his young academecians. "Study not," said he, "to please the many, but the few of cultivated taste." Alas! how few in any age, have given that attention to the subject which is essential to the formation of a correct judgment. They say,—do we not see and understand what nature is, and can we not tell when the artist has truly represented her?—We answer no. The eye unaccustomed to contemplate nature, cannot perceive the ever changing beauty of her scenery,—her lights and shades more various than the Dolphins hues; nor can it discern that play of the thoughts and passions in the "human face divine," which eludes common observation, and is beheld only by him who has studied profoundly, that wonderful title page to the volume of mind. Nature, it is true, like a lovely and virtuous maiden, is seen and admired by all; but the blush which reveals her sweetest charm, is only perceived and felt by the devoted lover. That Lover is the artist. To him the revolving year, brings but a change of beauty. It is the element in which he breathes,—the aliment on which he lives; his eye detects each flitting shadow—and the whole world of real or imaginary things, is to his mind full of moving pictures, which he can, in a moment, transfix and perpetuate on his canvass. On him the graces attend, and wreathe the flowers of every season into garlands of beauty; the jocund spring strews buds and blossoms in his way, which he transplants to other climes, to live in unfading bloom, and flourish on the same wall with the fruits of summer, or mingle with the sober and varied hues of autumn. Even winter, with frosty locks and snowy visage, is compelled to linger in social companionship with the burning heats of tropical regions. Old Time, in his onward march, strews cities and temples in the path of the artist, but his pencil like the wand of the enchanter, bids their sculptured fragments remain forever, and they obey him. When Aurora comes forth in the chariot of day, and Cynthia lights her pale lamp at Diana's altar,—he snatches promethean fire from heaven, and like Joshua, commands the unwearied sun to stand still, and the glowing canvass receives it. He not only transfers

"Italian skies to English walls,"

but by the magic of his pencil, the very faces and persons of the fair and the brave of ages gone by, come down to our day in the bloom of youth, and with the daring eye, as they lived and moved when Shakspeare wrote, or lovely Juliet died.

Where do not the trophies of this incomparable art arrest our attention?—from the ruins of Pompeii to imperial Rome, or from the Vatican, where Raphael's immortal pencil traced the transfiguration, to Hampton Court, the gallery of the cartoons, and of that fair but frail society, of which England's voluptuous monarch was the sun and centre.1 But these are neither black, nor daubed, nor smooth!—and yet they are excellent in art, and have been so esteemed for three hundred years. To these the painter may appeal as imbodying all that is noble in his profession, or like Sir Joshua, who felt and understood, what others only imagined, he may patiently submit to the ignorance of vanity—and the vanity of ignorance.

When they talk of their Raphael, Corregio and Stuff,
He shifted his trumpet and only took snuff.

G. C.

1 The cartoons of Raphael and the court of Charles II by Sir Peter Lely, form a part of the collection at Hampton court.