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the other novels of the GRESLEY and be maintained that Miss Austen had another Sewell school, and intended to propagate purpose at least equal in importance, in a ritual and hierarchic churchism ; but her own mind, in its composition; for the with this difference, tbat whereas these book displays the disgusting folly and miserlatter are only at the verge, Fabiola is able result of miseducated and misdirected wholly inside the pale of the Roman female life very much more fully and forciCatholic Church. It is somewhat over- bly than the nature or operations of charged, too, with the sentimentality pro- either Pride or Prejudice. Mrs. Bendet is per to Young Rome ; narrating the ecsta- a silly old woman, with four daughters; and sies, and even the miracles of its three her whole foolish energies are devoted to saintly characters, St. Agnes, St. Sebas- the one purpose of marrying them to hustian and St. Pancras, with sickening de- bands; who must, at any rate, be wealthy tail. The Lives of the Saints, and the next respectable, then handsome, and Acts of the Martyrs are quoted, through- good or bad, as luck may have it. Very out, as quite reliable authority, and the much the same is the intention of all ordinary ceremonies and forms of the the other mothers in the book. Such is Church, along with other antique ob- the expectation of the daughters, who are servances, are a staple material in the pro- represented as wise or foolish virgins, gress of events. The story is not re- more in proportion to the modesty or markable, being the frequently repeated immodesty of their conduct in their bus experience of early Christians of high and band-hunting enterprises, than for any other low rank, converted, and betrayed and remarkable qualities. The action of the martyred, or escaping and living happily. book is principally carried on by means of The quiet postulate that Christianity is conversations, throughout which the indiand always has been Romanism, of course, vidualities of the interlocutors are distinunderlies the whole book. The style is guished and preserved with very consideraprecisely what one would expect from a ble skill; and which are quite artistically dignified prelate ; rather stiff, and more contrived to hold to each other, throughout or less disfigured with classicisms and the work, the relations usually sustained foreign idioms, such as one might acquire by adventures or schemes. A very meagre by long habituation to the use of Latin and unskillfully written biographical noand Greek, and of the continental idioms tice of Miss Austen is prefixed, apparently of Europe ; not to speak of technical from some biographical dictionary. terms from the ecclesiology of the writer. On the whole, therefore, it is greatly inferior to the controversial works and occasional discourses of the Cardinal, which HORACE VERNET's Brethren of Joseph, at exhibit not only prodigious variety and Goupil & Co.'s Gallery. accuracy of learning, but rare eloquence. Ary Scheffer's “Temptation of Christ,"
– Pride and Prejudice, by Jane Austen. was removed from the Gallery of the Messrs. With this respectably printed volume, Goupil, only to make room for a picture Messrs. Bunce & Brother commence the re- of less size but certainly equal merit, by publication of Miss Austen's standard Horace Vernet. “ The Brethren of Joseph" novels. To the readers of forty years ago has also left us, to adorn the walls of its any account of her works would be super- English purchaser, but a large and imporfluous; but they are known to compara- tant picture by Maclise speedily supplied tively few of the younger patrons of circu- its place, and renewed, for the third time lating libraries and book-stores. Pride and during the past season, the obligation the Prejudice is, in respect of style, a conversa- public is under to the enterprising gentletional novel; in respect of subject, a social men who compose the firm of Goupil & novel. It seems to have been intended by Co., for the opportunity to study, at the writer to be taken as an exposition of leisure, first class works of Art. the evils resulting from the faults after There are several things waiting to be which it is named; for the unhappinesses of said about these Exhibitions of single picthe story are the consequences of the pride tures, and the aid they bring to the formaof Darcy and the prejudice of Elizabeth tion of a correct public taste, but we leave Bennet. But it might, without absurdity, them until another occasion. At present,
THE FINE ARTS.
a few words about Horace Vernet himself Vernet opposed bimself with his characseem in place before speaking of his pic- teristic energy. He refused to dress bonture. Here, in brief, is what we have been est soldiers of the nineteenth century in able to gather concerning him and his his- sandals and tunics. He refused to paint tory.
them in any dress but their own, or to put The father and grandfather of Horace shields and spears into their hands instead Vernet were both distinguished painters. of good guns and swords. With his keen, The grandfather's name was Claude Joseph mental eyes, he saw tbrough the classic Vernet; he painted marine views, princi- farce, and laughed at those who acted in pally sea-coasts; a large picture from his it. The pictures we have named in a prehand is in the Gallery of the Boston Athe- vious paragraph, were the first fruits of his næum, and two inferior specimens are to determination. He soon found that the be found in the Bryan Gallery in New people were on his side, if the Academy York—a collection, by the way, which only and the Artists were against him. In 1822 needs to be exhibited in more easily acces- he wished to make a more decided move, sible rooms and at a less charge for admis- and sent his pictures to the Exhibition at sion, to receive a much greater share of the Louvre. He had made enemies by his public attention than it does at present. opposition, and now he felt their power.
Horace Vernet's father was Antoine His pictures were refused admission. NoCharles Horace Vernet, a painter of repute; thing daunted, but confident in their merit, his son, born in the Louvre, in 1789, took he took them to his studio and exhibited the last two of his father's long string of them to the public there. It was a bold names, and at this day plain “ Horace Ver- stroke, but a fortunate one. His room benet” on a canvas, commands a host of came the centre of attraction in Paris; the admirers larger than that which follows people were wonderfully drawn to these any other living artist. He early discov- spirited, natural works. Vernet became ered the particular line in which his genius at once, and forever, a public favorite. as a painter was to develop itself. Born The French battles in Algeria seem to an artist, he was also born a soldier, and constitute the great era in Vernet's artistic the titles of some of his earliest pictures life. Gallery at Versailles was set apart will show in what direction bis nature led for the reception of pictures commemorahim. “The Taking of a Redoubt,” “ Dog tive of the Algerian War-all of which of the Regiment," " Battle of Tolosa," Vernet was commissioned to paint. This • Barrier of Clichy,” “Defense of Paris,” Gallery is called the Constantine Gallery, -tbese pictures, painted in 1817, when the from the name of the town “Constantine," artist was twenty-eight years old, have taken by the French during the war. It been judged worthy of a place in the Lux- contains Vernet's greatest works. There embourg Palace-in whose Gallery are is “The Taking of the Smalah," the largest bung, as in a place of the highest honor, picture in the world-small praise, if it the works of the best living artists of could not also be said that it is crowded France.
with incident, and that the narrative is Horace Vernet began to paint in the told with wonderful clearness, a fertility days when the tide of popular feeling was of invention unparalleled, and a truth to turning against David, the great master of nature, we may almost say, never before the classic school-a school, so-called, be- attempted. cause, instead of studying living men and Although Vernet's great power lies in their manners, its scholars spent their lives
the painting of battles, yet he by no means in making historical pictures whose men confines himself to this field. He paints and women were modeled from the antique every variety of subject, but always with statues and the figures on the Greek vases. an evident leaning toward those in which
It was, on the whole, a poor school. Its life is stirring and active. His works have pictures were coldly correct, without life, a wonderful reality ; his execution leaves without vigor, without sentiment; but, nothing to desire in truthfulness, yet there fostered by Napoleon, or, at least, made is nothing in it that reminds you of Düsselthe fashion during his reign, it took a high dorf and its artificial school. Like Scheffer seat in the world and kept it for a long and Couture, Vernet is no colorist. He time unchallenged. To this school Horace renders with faithfulness the local color and texture of every object, but he does was a wonder-each had a distinct indinot know how to harmonize and tone the viduality, but it was not only the fact of whole into an agreeable result. Hence bis their being Arabs, and not Hebrews, that pictures have a spotty, crude appearance-- made them appear udrelated to the scene, the eye is not soothed and pleased as in They seemed as if arranged in a tableau looking at a Rubens or a Titian, but it is vivant, and yet not so, but rather as if some shocked and dazzled. Afterward, when accidental juxtaposition of men in real life the mind busies itself with the story and had caught the eye of the artist and imthe characterization of the actors, delight pressed him with its strange resemblance begins. But it must never be forgotten, to the scene acted centuries ago in Palesthat a picture wanting in color is deficient tine by those twelve hard-hearted brethren, in an important and noble attribute. and as if he had copied what he saw with
Vernet works with marvelous rapidity. literal exactness, making no allowance for He rarely uses the model, and then only
the difference between the motives of the for an instant; he spends little time in two scenes. This want of sentiment—the studying dresses, arms or accoutrements-- highest quality in a work of Art, prevented 'so retentive is his memory that once having “The Brethren of Joseph” from taking that seen he remembers with distinctness, and lofty rank to which, had it been all that then, free from all impediment, he im
we have a right to demand in this respectpresses himself upon the canvas with such its admirable execution, the power of its rapidity that he may almost literally be
characterization, and the profound knowlsaid to think with his brush.
edge in many departments it displayed The picture of “The Brethren of Joseph," would have unquestionably entitled it. which our citizens have had so good an
--The Sacrifice of Noah, by DANIEL MAopportunity to study. was a fine specimen
CLISE, R. A., at Goupil & Co.'s Gallery. of Vernet's work. It was painted in Africa
This large work by an Irish painter, long in 1853. The story was remarkably told,
resident in England, is undoubtedly a fine and the execution could not be surpassed.
specimen of his ability. With great good Like all his pictures, it was unpleasant in
sense, the Messrs. Goupil bave thus far color, but it displayed the utmost perfec
selected their pictures for engraving from tion in drawing. The botany, the anatomy,
the works of those men who are not rethe rendering of texture in the materials,
markable for excellence in color. Scheffer, were all masterly. It was a work we
Delaroche, Vernet, and Maclise, are none greatly desired to bave made a public pos
of them colorists, and their works are well session. Not until our people can see such
represented by engravings. of the pecuworks freely and at will, shall we be able
liar excellence of such men as Titian, Paul to congratulate ourselves on a public ap
Veronese, Giorgione, Rubens, and Allston, preciation of Art; and until we have that no idea can be formed by prints : through appreciation we shall be wanting in a great
such a medium we only see the beauty of element of civilized society. To provide
their forms, the excellence of their arrangesuch works of Art for the contemplation
ments, or the naturalness of their expresof the people is as clearly a duty of Gov
sion. ernment as anything can be, and we can
Mr. Maclise has treated his subject with but be ashamed that a city like New York, great simplicity and directness. In color, the third city in the world, has to depend the picture, like all his works, is wholly for her opportunities of seeing works of unsatisfactory. It is cold, gray and inbarArt, on the courtesy of picture dealers, monious. It is very much worse in this and in the advantages which she offers for particular than either the “Temptation" the study of pictures and statues, is not or “The Brethren of Joseph.” But in only bebind Boston and Philadelphia, but drawing, it is excellent, and the story is also far behind some of the smallest cities told with a clearness wholly admirable. of Europe.
The salient points of the narrative are Perfect as was“ The Brethren of Joseph," seized with decision, and the canvas, within its drawing, and wonderful as it was in out being crowded, is full of incident. the truth of its rendering, and the clearness In the centre stands Noah-an erect, vigof its parrative, it wanted the charm of orous figure,-wanting, perhaps, in hight; sentiment and purpose. Each of those men his face is lifted earnestly to heaven-his left hand, clenched, is pressed firmly upon and rests his arms on the other. He is the rude stone altar from whose victim the half draped in a mantle—a rich bracelet smoke of sacrifice rises. In his right hand circles one arm--his beard is slight, his he holds a golden censer. His whole atti- dark-brown hair falls over his forehead. tude strongly expresses a manly faith and He looks up at the ascending smoke with trust in God. He is really the central fig- a countenance earnest in its action, but ure but not the central thought of the pic- too sensuous to be fully sympathetic. He tare. The central thought of the picture, exults in life and is thankful for it, but admirably interpreted, is the sublimity of it is with a languid delight. The sweet faith in God. Without the clear and full savor of the sacrifice is to him its greatest expression of this idea, the picture could cbarm. be nothing but a piece of posture painting, In front of the picture, at the left hand, well done, perhaps, but without purpose, Noah's wife is seen kneeling. Eren if the and so without real greatness. As it is, in rest of the work were poor, the sentiment spite of its crudity and want of sufficient of this figure would redeem it. The attistudy in some portions, it may, without tude is that of one who is saved from peril hesitation, be called a sublime work of Art, after long and anxious watching and infull of suggestion, and whose deep inner ward struggle. A different and perhaps meaning can never be exhausted.
grander mode of treatment would have At the right of the picture are grouped represented her as triumphing in the fulfillthe wives of Noah's sons. They are natu- ment of her belief in God's power, and in ral, pleasing figures, but are not character- the answer to her prayers. But the action ized suficiently, as the wives of the men chosen by Maclise brings ber nearer to our who were to found three great empires, human sympathies and experience. Her each with its peculiar civilization. They expression is that of tearful thankfulness. are simply three handsome Irish girls, She fully joins in the offering of sacrithey might have been made something fice, but she is too much prostrated in body more. A pretty bit of sentiment is intro- and mind to exult. She is looking nowhere duced in this portion of the picture. The -her mind is busied, and absorbed in coly plant that can be seen, a delicate thought. cine, has sprung up at the feet of these The detail of the picture demands a mogirls, a lamb lies down beside them, and ment's notice. In the background the Ark two snow-white doves have come to pick rests upon Ararat, and the animals are up food close to them. The signification leaving it. The domestic animals remain of these incidents is clearly pronounced, quietly grouped together, nearest to what while the incidents themselves are skillfully is left of mankind. The giraffes, lions, and naturally managed.
panthers, elephants and camels, take up At the left of the picture stand the three their march to the East and South; the sons of Noah. Suem, a youth of fairer skin elks, stags and deer, are on their way to than his brothers, dressed in the light garb the North-a group of chamois and ibexes of a shepherd-buntsman, leans eagerly for- stands on a cliff. On the Ark the domestic ward, supported by his spear. He carries birds are gathered quietly in one placeat his side a knife with a bandle of stag's the others fly off with multitudinous born: and a gourd water-bottle. He is scream and wbirr. This whole arrangeyoung and beardless. His countenance ment shows careful study and poetic expresses reverent faith, and intense inter- thought. The dead birds and animals in est in the ceremony. JAPHET stands next the foreground, with the wonderfully exehim, an erect and noble figure, clothed in cuted silver vase, are almost too well done. a long mantle which completely covers They dangerously lure the eye away from him. His hair is black and his beard is the more important statements of the picthick. His attitude and face express, if ture, and cause the mind to waver between not indifference to what is going on, at the contemplation of merely material facts, least an intellectual questioning. He is and those sublime spiritual ideas which the philosopher-not denying, not assert- underlie and permeate the whole scene. ing, but waiting with quiet dignity for the Both these pictures, “The Brethren of proof which he demands as the condition Joseph,” and “The Sacrifice of Noah,” are of his assent. Han kneels on one knee to be engraved by Goupil & Co.
"like a drowning woman," while a blonde
bearded gentleman, who looked as though Paris stops midway in Lenten mortifica
he had studied, and fought, and drunk, at tion, puts off sack-cloth and ashes, dons
Heidelberg, thought that her voice soundthree-pile and motley, and, during the mi
ed as if she were singing in a huge tun. carême, dances and sings with the frantic
The case was deplorable, and the tender zest of a schoolboy's play during his fifteen lings of Gotham ran about the house minutes noon recess. But New York is
chirping out, that “Steffanone had been more persistent in its abstinence. It was
living too fast," coaxing their moustache not so of olden time; for those of us who the while, and looking wicked and knowyet write ourselves young remember when ing, as if they, each one of them, could tell all innocent amusements, public or private, who and what was at the bottom of it all; were as openly enjoyed, even among our but-though they did not say so—they High Church Gothamites, during Lent were evidently on their honor, and were (excepting Passion Week, perhaps) as in discreet. But an evening or two exany other part of the year, sacred or secular. tinguished their pretensions; for Steffanone With the advent of Gothic church-architec- was again Steffanone the Magnificent,-a ture, however-real Gothic, wrought in little coarse, perhaps, and more sensuous stone, which causes note-shaving, pork- than intellectual in style; but still gloselling churchwardens to talk of naves and rious, in a large, full, sympathetic voice, a transepts, corbels and finials—the gusty fine declamatory vocalization, a striking forty days which usher in our only month of manner, imperturbable good nature, and unSpring have attained a new sacredness in flagging faithfulness. She has lost somethe eyes of the Rev. Cream Cheese, and what of her freshness both of voice and the flock to whom he dispenses the mild person; but we still see in her potential curds and whey of doctrine, and Upper- ministrations to more than one season of ten-dom now goes the entire Lent.
operatic pleasure. It is for this reason, in part at least, that The change which has taken place in the the serried ranks of seats in the new Opera taste of our musical public during the last IIouse, which we absurdly call the Aca- ten years, and the exacting demands for demy of Music, have been in a great which operatic managers are obliged to measure vacant during the last month, in cater, are in no respect more decidedly spite of Steffanone and Vestvali, Brignoli shown than in the manner of Signorina and Badiali. The Committee of Manage- Vestvali's reception by the town. Ten ment boldly lifted the concern out of the years ago, Vestvali, “ solitary and alone,” mire of the Ole Bull-Maretzek"row," and would have filled a theatre. She is quite seemed determined to show the public that a phenomenon, this fair Sclave, (she is a the affairs of an opera house could be con- Pole, a Varsovienne,) and, in appearance, ducted at once quietly and with vigor, at least, is the prominent personage upon generously and with prudence. But as far as the stage whenever she appears. Of alregards the pecuniary result of their labors, most heroic stature for a woman-she is they were in vain. They piped unto the full half a head taller than Grisi-she is, people, but they would not dance, they nevertheless, one of the most beautifully sang unto them, but they would not answer. formed creatures that the eyes of happy
Steffanone, whom we all remembered men ever looked upon. Her voice, a conwith pleasure, whose great, good-natured, tralto, assigns her to more masculine than lazy way never offends us, even when she feminine characters; and not only does sings sluggishly, and who, when she is she become the dresses which she wears, finally aroused, which usually happens but she is splendid in them-radiant. In about the finale of the first act, or the be- truth, it is impossible to conceive anything ginning of the second, displays a dramatic more beautiful than the things wbich Vestforce and intensity inferior only to Grisi's vali uses to walk with. Fully conscious of of all the prima donnas that Fortune and her beauty, too, and never mincing matters the Collins line of steamers have brought when propriety of costume requires its disus,-this good Steffanone made a bad im- play, she yet seeks no opportunities to repression when she first appeared this veal it, seeming to be entirely unconscious season. She sang, as one fair auditor said, about the matter, and, when on the stage,