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Notices of Books:

Auswers to Correspondents.

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Seeta. By Meadows Taylor, C.S.I., M.R.I.A., 'M.R.A.S., &c. King

X.-The difference between an escutcheon of pretence and an ines. & Co.

cutcheon, is that the latter is not a charge, but a separate coat, occuWe are glad to welcome another story from the accomplished author pying the fess point; whilst the former is a small shield, occupying of Tara.” Captain Meadows Taylor has chosen the time of the

the same position in the centre of the larger one, and covering a porgreat Indian mutiny for the plot and dénouement of his new novel,

tion of the charges, but bearing a distinct coat of arms. "Seeta." We find the same intelligent appreciation of the native character and capabilities as in the earlier work. The heroine,

7. L-The battle of Jarnac was fought in the town of that name, whose name the book bears as title, is a charming creation, and the

in the department of Charente, France, in 1560, between the Catholics writer is most successful in awakening and sustaining interest in her.

under the Duke of Anjou, afterwards Henri III., and Huguenots There is, perhaps, less general information to be gained upon Indian

under Louis, Prince of Conde, and ended in the defeat of the latter. life and manners than in “Tara;” but there is sufficient to rouse

Clericus.-George Herbert, the author of “ The Country Parson," sympathy and a desire to know more of the individuality of the was a brother of Lord Herbert, of Cherbury, and was born in 1593. wonderful race whose literature and civilization were capable of an elevation so lofty, while at the same time disfigured by pagan super- L: 7.-The majority of the inhabitants of Persia are Mahometans, stition. What will specially gratify those who believe that it is of the sect called Shiites or Sheahs, and they differ to some extent in incumbent upon the English nation to take more than a superficial religious doctrine, and more in historical belief, from the inhabitants and mercenary interest in the affairs of the great Peninsula, and of the Turkish empire, who are called Sunnites. that there is yet a future of high promise for its gifted people, are the evident love and enthusiasm which the author brings to bear upon the R.R.(Camberwell:)-The popular ballads “Cherry, Ripe", and rich and attractive theme he has chosen for illustration and elucida- "I've been Roaming," were written by Mr. Charles Edward Horn, tion. We wish him all success in his pleasant and instructive the son of a German musician. He died at New York, in 1849. endeavours to increase the good understanding between the two nations.

7. T.-The officials at the College of Arms, Doctor's Commons,

will furnish you with the information you require.
Numismata Cromwelliana, or the Dedallic History of Oliver
Cromwell, Illustrated by his Coins, Medals, and Seals. By Manchester, was the author of the work you allude to.

F. F. Reeves.The Rev. John Clowes, rector of St. John's,
Henry W. Henfrey. Part I., with seven Autotype Illustrations.
London : John Russell Smith. 1873.

X.-The term "a cross humetty," in heraldry, signifies that the
NUMISMATA CROMWELLIANA usefully supplies a gap in the sources of limbs of the cross nowhere extend to the edge of the shield.
information hitherto accessible as regards the Protector. Its publi-
cation will be hailed with satisfaction and pleasure by the student R. S. Tompson.-Refer to Gifford's cdition of the works of Ben
of English art, as well as by the archæologist. As remarked in Jonson, which is accompanied by a biographical memoir of the great
the prefatory advertisement, it is the first time that “a complete humourist (1816), or to Barry Cornwall's, a third edition of wbich was
historical description of all the Coins, Medals, and Pattern Pieces of published in 1853.
Oliver Cromwell” has been attempted. The new light thus thrown
upon the history of the Protectorate by these reliable witnesses

R. A. (Kearsley.)-The lines you allude to have reference to the in the highest degree interesting. It is refreshing and almost Fenwicks, who played a conspicuous part in the Border wars: they surprising that, in spite of the meagre Puritanism of the age, these

occur in the ballad of the Raid of the Redswire," and are as

follows: fine examples of art should result to us from those days. Their artistic originator, Thomas Simon, is stated by Horace Walpole to

"I saw come marching o'er the knows have been the pupil of Nicholas Briot, a native of Lorraine, and

Fyve hundred Fenwicks in a flock, "Graver-general of the Monies in France.". Briot, disgusted with

With jacks, and spurs, and bowis all bent, the treatment he had received in that kingdom, had come over to

And warlike weaponis at their will." England, where Charles I. gave him great encouragement, establishing him in the Mint at the Tower in 1628. He returned to France

7. Runnock.- The building was demolished in 1864, and the about 1642, and his gifted pupil, Thomas Simon, at Cromwell's

materials used for mending the roads. request, was installed in his place. To Briot's training, we are therefore indebted for the eminent artistic skill so admirably applied

R.O.-Thursday is the only day on which tickets for admission are to the production of the Cromwell medals. It is the undeniable art required; they may be obtained on application to the Secretary of they evince which at once strikes the eye. The faces of the busts in

State for India, the Under and Assistant Secretaries of State, relief are not mere mechanical copies of nature. There is so much members of Indian Council, and the Reporter on the Products of expression in them, such an intellectual penetration of character, and

India. such freedom of handling, that the thorough artist of the brush, as well as the chisel, seems to have been at work upon them.

E. 7. Smith.-"The History of Jonathan Wild" was one of the In this first part of the work are seven mcdallic illustrations in early productions of Fielding, the novelist. autotype, or permanent photography. These are adınirable for L.D. Stevens.--The arms of the family you mention are-Arg., on a accuracy and effect, and form valuable examples of seventeenth bend, az., three buckles, or; the crest is a griffin's head, erased, ppr. ; century art.

and the motto “Grip fast." The "Numismatic History of Oliver Cromwell” commences, we are told, with the battle of Dunbar, on September 3rd, 1630. Accord- R. M.-The design of the State Orders of the Bath, as set forth in ingly, the medals struck upon that occasion, by order of the House of our old records, was "for the exaltation of the holy Christian religion, Commons, begin the series under the title of "The Dunbar the support of the rights of our sovereigns, the defence of these Medals." "This," observes the author, “is the first instance in realms, the advancement of justice, the protection of virgins, widows, English history where the same medal was distributed to officers and and orphans, the relief of the oppressed, and for demonstrating the men alike, as is our present practice; and it was never done again by affection of our monarchs towards the estate of chivalry." the supreme authority until the Battle of Waterloo in 1815. Thomas Simon was sent to Edinburgh to take the portrait of the

F.A. (Ely.)- The author of the " Trea:ise on Tenurcs,"commented Lord-General for the medal in question. Cromwell, in his letter on

upon by Sir Edward Coke, was Sir Thomas Lyttleton (or Littleton), the subject, addressed "to the Committee of the Army at London,'

K.B. He was appointed a judge of the Common Pleas, in the recommends the appointment of Simon to the former office of fourth year of Edward IV. Nicholas Briot, remarking, “the man is ingenious and worthie of incouragemt." According to an old pamphlet, published in 1799, the original dies of the Dunbar medals were found at Southwold, in

NOTICES. Suffolk, in the shop of a blacksmith “who asserted that he, or his father, had purchased them

out of a house at Southwold that had belonged to the protector, Richard." Vertue, however, in the first

Correspondents who reply to queries would oblige by referring to edition of the "Works of Thomas Simon," 1753, says that the die of the volume and page where such queries are to be found. To omit the large Dunbar medal, No. I., was found in the walls of a house at this gives us unnecessary trouble. A few of our correspondents are Hureley, Hants, which had formerly been in the possession of the

slow to comprehend that it is desirable to give not only the reference Cromwell family. These medals are considered to exhibit the best likenesses of Cromwell which were ever obtained in this style of

to the query itself, but that such reference should also include all imitation. The remaining medallic illustrations in this first part are previous replies. Thus a reply given to a query propounded at page the "Lord-General ” medal, the Pattern Farthing of 1651, the In- 4, Vol. rit., to which a previous reply had been given at page 20, and auguration medal, and the Privy Seal, also the work of Thomas

another at page 32, requires to be set down (Vol.rri: 4, 20, 32). Simon. The lovers of fine typography will be gratified with the style in which the work has been brought out, and its toned paper and the We shall be glad to receive contributions from competent and red-letter beadings of the chapters greatly increase its attractive and capable persons accomplished in literature or skilled in archæology, ornamental character. It is appropriately dedicated to the Marquis and generally from any intelligent reader who may be in possession of Ripon, who, as a promoter of art and archæological research, and of facts, historical or otherwise, likely to be of general interest. as a descendant of the Cromwell family, may be considered to possess special qualifications as a patron of Mr. Henfrey's interesting | lishing Office, 81A, Fleet Street, London, E.C.

Communications for the Editor should be addressed to the Pub. enterprise.

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second tier was hung with placards, whilst hundreds of others LONDON, SATURDAY, JULY 19, 1873.

of smaller size, in prose, and rhyme, were showered down among the pit, many of these containing absurd denunciations

of poor Catalani. These are a few of the cleverest :CONTENTS.-No. 72.

Cease, Kemble, your unjust pretence,

And show at least you've common sense;

Your pride on folly clearly borders, London Riors:-Sixty-six Nights of the O. P. Riots, 25.

Witness the tools that have your orders.Art AT THE INTERNATIONAL EXHIBITION, 27.

" Seventeen thousand a year goes pat,


“John Kemble be damn'd, THE CORRINGHAM BRASSES, 30.

We will not be cramm'd."

John Kemble alone is the cause of this riotQUERIES:- Cromwell's Grave, 32--Subterranean Passage at Chelsea

When he lowers his prices, John Bull will be quiet.” ---Sir Walter Manny-Black Agnes-Monument at St. Paul's

“'Tis no use to disscmble, Church, Clapham-The Family of Milton-Relics of Old London - Bills-Cromwell's Ironsides-Rotten Row-Drury-Scalping.

Squire John Philip Kemble.”

“ John Bull, John Bull. O! brave John Bull, REPLIES:--Geological Time, 33–Relics of Charles I.-The Fifth

Of resolution still be full; Monarchy Men-Guy Fawkes-Baptism-Historical Query

Fear not to show disapprobation, Killiecrankie-Welsh American Indians-Balloons—The Abacus

But firmly keep your proper station, of Palamedes-Wolves in England-Penance in the Church of

For none of Kemble born shall gull the British nation." England-Names of City Churches-Badge of the 17th LancersOrigin of the word Nun—The Tichborne Family.

" Mountain and Dickons !

No Cat or kittens." Notices of Books, 36.

“ Fair prices !-Monopoly provokes. ANSWERS TO CORRESPONDENTS, 36.

The public are arbitrators--no hoax."

" John Bull's opposition

Is against imposition."


"This is the house that Jack built.

" These are the boxes, let to the great that visit the house that JACK


“These are the pigeon-holes, over the boxes, let to the great that

visit the house that Jack built. BY WALTER THORNBURY.

“ This is the Cat engaged to squall to the poor in the pigeon-hole

over the boxes, let to the great that visit the house that Jack built. (Continued from page 14.)

"This is Joux Bull with a bugle-horn, who hissed the Cat engaged

to squall to the poor in the pigeon-holes over the boxes, let to the great It was on the fisth night of this brief madness that Kemble that visit the house that Jack built.

" This is the thieftaker, shaven and shorn, that took up Joux BULL came on in the second act of “ John Bull," and said he had a with his bugle-horn, who hissed the Car engaged to squall to the poor proposal to submit which, he trusted, would restore in the pigeon-holes over the boxes, let to the great that visit the house tranquillity. He would entrust the accounts of the theatre that Jack built. to a committee of gentlemen of character. (Cries of No, no :) | people forlorn, and directed the thieftaker. shaven and shorn, to take

"This is the manager, full of scorn, who raised the prices to the He then suggested the governor of the Bank of England, up John Bull with his bugle-horn, who hissed the car engaged to the attorney-general, the solicitor-general, or the accountant squall to the poor in the piccon-holes over the boxes, let to the great of the Court of Chancery, Sir Francis Baring and Mr. that visit the house that Jack built.

"Bow-wow." Angerstein. Yet even this proposal did not satisfy the mal. contents, and after much tumult, fife playing, and choruses of This night Kemble again appeared and addressed the “Hearts of Oak,” and “Rule Britannia,” Kemble stalked off rioters. like the injured ghost in “Hamlet.” The general feeling seems “ Ladies and gentlemen,” he said, “it has been reported to have been that the Lord Chamberlain was the only proper that it is my aim to insult you. But how can I deserve arbitrator to have been chosen, as he had been ten years before, this imputation ? I who for twenty years have toiled when Johnstone, Fawcett, Pope, Knight, Munden. Incledon, hard to win your esicem.” (Cries of " Come to the point.") &c. had fallen out; but then the rumour ran that the existing | The accounts were about to be laid before impartial Lord Chamberlain was an 0.P. The riot now increased to judges, and, as they seemed to wish it, the engagement with a perfect monsoon, the covering of the seats were torn, the Madame Catalani had been suspended. The mob would doors spit upon.

Fresh placards and caricatures wir: listen to no more, and the tumult so increased, that many displayed ; one entitled “A cure for Aitches," represente 1 of the rioters were seized, and, in default of bail, sent to Kemble gibbeted. Another depicted Kemble as lacbeth, prison. Lord Dartmouth (the Lord Chamberlain) forHarris as Banquo. The former exclaims

bidding further performances for the present, the theatre

closed for ten days. During this armistice, which benefited "Thou canst not say I did it;"

the Lyceum, a clever squib, called “ The New Chevy Chase," to which the latter replies :

appeared in the Morning Chronicle, an extract from which "A lie! upon my soul, a lie.”

we append to show the disgraceful attack on the great

singer Then the terrible 0. P. dance followed, the tune beaten on

"To chase the Cat* with howl and horn the seats (from which rose clouds of dust), with choruses of

John Bull went to the play, 0. P. The music of this wild war-dance was soon after

And though she laughed him to scorn, wards published and sold at every music shop.

I trow he won the day. On the sixth night, Kemble produced the “Woodman," and the farce of“Raising the Wind,” and no orders were sent “But John, whose skull with brains is cramm'd, in. The tumult was now at its height, and the toy shops in

Their schemes did soon unriddle; Exeter Change had been exhausted of every child's whistle

And if I have, may I be damn'd, and penny trumpet. Some madmen beat on marrow-bones

(Quoth he) your Cat and Fiddle ! with cleavers, and one ruffian clanged horrible dissonance out of a dustman's bell. The actors were pelted, the whole

• Catalani.

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“What! Think you me to tax and gull

Oh ! Johnny Bull be true,
For building this here house !

Oppose the prices new,
Or thinks a Cat to catch John Bull,

And make them fall;
Just as she'd catch a mouse?

Curse Kemble's politics,
Your modesty, upon my soul,

Frustrate his knavish tricks,
Much with the ton increases,

On thee our hopes we fix,

Confound them ali!
That fain would cram each pigeon-hole
With seven-shilli

“No private boxes let

Intriguing ladies get-
No, no, it will not do, Black Jack.
It shall not do, by jingo;

Thy right, John Bull;

From little pigeon-holis,
Old plays and prices we'll have back,
And no outlandish lingo!"

Defend us jolly souls,

And we will sing by golcs, In the meantime the committee's statement was published.

God save John Bull!” They reported, " that the rate of profit actually received upon an average of the last six years, commencing in 1803 (the

On October roth they played “ The Village Lawyer,” and period of the then co-partnership in the theatre), upon the the riot did not commence till half price. The actors were capital embarked therein, amounted to 6% per cent. per annum,

cheered, and songs even encored. The Jews were again charging the concern with only the sum actually paid for there, and several placards were inscribed -insurance upon such part of the capital as was insured; that

"Turn out the fighting Hebrews, if the whole capital had been insured the profit would have

John Bull the fighting Hebrews smote.' been reduced to little more than 5 per cent., though, for want of this full insurance, the proprietors, being in part The following handbill was circulated :

The Jews tore up all these bills as fast as they could. their own insurers, sustained a loss by the late fire, for which no compensation has been made, to the amount of their

“MENDOZA AND KEJBLE. whole profits for the above period of six years. The

“It is a notorious fact that the managers of Covent Garden Theatre receipts of six years had amounted to 365,9831.; the highest have, both yesterday and to-day, furnished Daniel Mendoza, the (the Master Betty year, 1804) being 70,7271. The average fighting Jew, with a prodigious number of Pur Orders for Covent was 300l. a night, there being 200 acting nights in the Garden Theatre, which he has distributed to Dutch Sam, and such

other of the pugilistic tribe as would attend, and engage to assault year. The expenses in six years had been 307,9121.

cvery person who had the courage to express their disapprobation of The rioters still remained discontented, and when the the manager's attempt to run down the NEW PRICES. theatre opened again, October 4, no one would listen to the

“This shameful abuse in the managers shall be proved to the satis

faction of “Beggar's Opera” in spite of Kemble's bows and depre

“ The Lord Chamberlain. catory gestures. The chief placards were the following :- “Oct. 10, 1809."

" The comedy John Bull to-night;
Dancing and tumbling by the troop,

The distributor of this bill was beaten by the constables
And then the farce of Who's the Dupe ?"

and dragged off to Bow-street, where he made the clever “ He that is greedy after gain,

defence that he was by trade a handbill distributor. It was Disturbeth his own liousc 'tis plain."

this night that one placard bore the following lines :-
" Fic, managers-why thus dissemble?
The case-John Bull zersus John Kerr.ble,

"The Times and Post are bought and sold
Having been left to arbitration,

To Keinble's pride and Kemble's gold.”
By which, to plaintiff's great vexation,

"Lads in the pit
A verdict the defendant won ;

Never submit."
The plaintiff, grieved by what is done,
Resolves thereby not to abide,

| of the many cpigrams in circulation, some, to my own But moves that it be set aside."

private knowledge, were written by the late Mr. Poole, author "No private boxes for intrigues; Remove those nuisances--those plagues."

of “ Paul Pry," and that precursor of Pickwick, " Little Ped.

lington,” and others by the two Smiths; the following is one The managers now resolved to only open the theatre every of the neatest :second night. On October 6th they produced “John

0. P. AND M. T. Bull” and “The Poor Soldier.” The row this night was more tremendous than ever. The management had hired "Submit, stubborn Kemble, submit, do, I pray,

Thy int'rest alonc, sure, might tempt thce; about 100 Jew pugilists to awe the mob, who, however,

For know, if for ever 0. P.'s done awar, turned on ihem, and gave them a most tremendous drub

Thy Playhouse will always be M. T.' bing. The next night, when “Richard III.” was played, the Jews, led by Dutch Sam, assembled in a ring, cager

The next night Dutch Sam was still there with his Jevrish for revenge. They were, however, pressed so close that toxers. Now, the rioters had agreed to trust to their lungs they could not use their fists, and were then well be alone, and had laid aside their rattles and trumpets. Three laboured ; the 0. P.s being led by an invulnerable hero, a actsof Colman's “ Heir-at-Law were played, but the farce, man in a white hat, who called himself “ Jemmy from of the “ Padlock” was not even attempted. A few bills Town.” The great fighting was to keep up or pull down were exhibited, but were as quickly to down. the placards, especially one decorated with a huge key, in

“The Post runs down John Bull's placards, allusion to the private boxes and an infamous house recently

To aid John Kemble's Jew blackguards." burnt down in Chandos-street. It was, however, at last

“ John Bull, defy the ruffian throng, torn down in spite of bludgeons, and half-a-dozen of its

Thou know'st they cannot touch thy tongue.” defenders were dragged off to Bow-street. A gentleman

Oppose, boys, Shylock and his crew, then got up in the pit, hissed, groaned, denounced the

We'll have fair play--fair prices, too." Jews, and cried, “I expect to be hauled off to Bowstreet by-and-bye, but I've got my bail, my boys.” He boxes leaped down boldly into the pit and generally escaped.

The catchpoles were on the alert, but the rioters in the then began to sing the following parody of "God Sate the A lady rose and spoke, but no one listened ; several persons King."

were taken before the magistrates, who demanded heavy "God save great Johnny Bull,

bail, and large bills were next morning posted in Bow-street Long live our noble Bull, God save John Bull;

declaring all rioters should be punished with severity. The Make him uproarious,

chief placards on the following two nights were these With lungs like Boreas, Till he's victorious,

"O! Bish for ever, God save John Bulls

Mendoza never!"

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of art.

“ Foul means will never silence Bull."

“Come all you lads and you lasses fond of sport "A long pull, a strong pull, a pull altogether."

And listen to my ditty, and hear but my report,

For if in sceing pantomimes, it pleasetli your delight, One prose placard was a pretended magistrate's order

Then haste to Covent Garden, it openeth to-night. forbidding people to laugh or hiss, because Brandon had

CHORUS. arrested one of the audience for what he called “an un. natural laugh,” &c.

“Then haste away, unto the play, where you can quickly be,

And by paying ot a shilling this famous playhouse see. "Every night our voice we'll raise,

This noble building, to be sure, has beauty without bounds,

It cost upwards of one hundred and fifty thousand pounds; To Kemble's shame and Britain's praise.

They've Madame Catalani there to open her wide throat,
"When zeal's displayed in a good cause,

But to hear your foreign singers I would not give a groat;
It then deserves the town's applause.

So haste away, unto the play, whose fame has reached the skies, Our motto this-conquer or die !

And when the CAT opes her mouth, oh ! how she'll catch the tlies! To Kemble this is Bull's reply.

(To be continued.)
“Pit three-and-sixpence, it must be:

No Israelites here let us see."
“Brave Britons, never quit the field,

Until the foc is forc'd to yield !"

HIBITION This last placard was much fought over. The catchpoles tried to pull it down, but it was quickly thrown up to the THE WORKS OF THE LATE JOHN PHILLIP, R.A., AND THE second tier, fastened with exultation, and retained there all

LATE THOMAS CRESWICK, R.A. the night. Some of the rioters wore 0. P., cut out in card, This collection of paintings forms an excellent exposition in their hats; and an orator, who passed for a midshipman, of certain aspects of English art. It cannot be called great was loudly cheered. The next night the O. P.s exhibited a in point of idealism or expression, or in the more heroic mask of a man's head, with spectacles upon the nose; forms of the art. Not that English life and English nationin one eye was written 0, in the other P. The midshipman ality are not capable of all these in an eminent degree, but, this night attempting another speech, was at once captured in the special sphere of action available for their develop. by the officers, dragged to Bow-street, and discovered to be ment, the heights and depths of existence, with the studied only a druggist's clerk in disguise. The people also were insouciance of good society, are tacitly ignored. Attention much irritated by the arrest of a poor servant-girl out of is directed only to what appears upon the smooth level of place, who, having a child's rattle thrown into her lap, ordinary circumstance. The more passionate life of the sprung it, and was at once seized, and, not producing bail, Italian expresses itself in passionate subjects and expressions sent to Tothill Fields. She was eventually discharged.

Heroic tragedy, divine comedy, the delights of The following songs (selected verses of which we give), Paradise, the depths of Hades, and the whole range of began now to be sung about the streets :

human life and the human heart, offer fields congenial to " John Kemble he would an acting go,

the inspiration and individuality of the genius of the south. ‘Heigho!' says Kemble,

The dreamy and speculative, yet hardly less passionate
He rais'd the price, which he thought too low,

German revels in sentiment less violent, yet equally intense?
Whether the public would let him or no,
With his rowley powley, gammon, and spinnage,

and, perhaps, more imaginative than that of the Italian? And 'Oh!' says Manager Kemble.

Poetry and idealism are far more important elements in ari The mob at the door made a mighty din,

with our Teutonic cousins than with us. The Gallic pencil Heigho!' says Kemble,

loves to chronicle horrors, the representation of which almost They dash'd like devils through thick and thin,

every Englishman would carefully exclude from his house And over the benches came tumbling in,

and home. With a rowley, &c.,

And the English picture-buyer moulds the ' 'Twill do,' says Manager Kemble.

English artist after his own taste; and, though occasionally “ He held by the tip of his opera hat,

some ambitious spirit, longing to escape from its trammels, Heighol' says Kemble,

may launch out into the commemoration of a great scene of Indeed the concern is as poor as a rat.'

history, allegory, or Scripture, as a general rule we find Says John Bull, 'No, damme, we don't stand that,

delineations of home life, society, familiar scenery, and subWith our rowley, &c., 'Twont do, great Manager Kemble.'"

jects of a similar nature displayed upon the walls of our

annual exhibitions. The pictures of Creswick may be taken KEMBLE, LEAVE THE PIT ALONE.

as fair illustrations of what might be called this middle-class "Johnny, leave the pit alone,

tendency in art. There is no aspiration and not much senti. Let them crack their wit alone;

ment about them, though sometimes the latter quality does Can't you let 'em sit alone, Let'em sing 0. P.

seem to work itself into prominence, almost in spite of the

artist's realistic bent, yet chiefly so far as inherent in the “ Why with lawyers fagging 'em, Up to Bow Street dragging 'em,

character of objects themselves. He appears to avoid those Brandon aims at gagging 'em,

convulsions and exceptional effects of nature, in which the More the blockhead he.

imaginative artist revels with sympathetic delight. Green Johnny leave the pit alone, Let them crack their wit alone,

lanes, clear, calm brooks, and skies untroubled by elemental Can't you let 'em sit alone,

passion or presage, are the materials on which his fancy Let 'em sing 0. P.

loves to dwell. There is a singular absence of artistic “Other measures try at, O!

-and imaginative motion in the works of the English Let the house be quiet, O!

painter. Instead of it we have, as before remarked, trees, Coughing is not riot, o ! Valiant boys are we.

woods, rocks, stones--all, with few exceptions, under the Johnny, leave the pit alone,

usual quiet daylight effect. But take this school for what it Let 'em crack their wit alone,

is-.e., unadulterated realism and naturalism, with occaCan't you let 'em sit alone,

sional slight touches of sentiment, the whole expressed by a Let'em sing 0. P.

certain technical skill which has reached a relatively appro“Despotism French is, O!

priate standpoint sufficient to carry out its own special needs, 0. P. lads and wenches, O! Gallop o'er the benches, O!

and an honourable position may be at once conceded. The Trip it merrily.

mistake is to cry it up as the one direction to be followed, or Johnny, leave the pit alone,

as the chief and special representative of British landscape Let 'em crack their wit alone,

art. And it has its merits. Its unaffected realism and truthCan't

let 'em sit alone,
Let 'em siny O. P."

fulness are undoubtedly refreshing after studio landscapes




Close by


bristling with morbid theatrical effects. Creswick put into just named, the advance in breadth of tone, light and shade, his pictures what he saw, and he saw nature. As before and in effective and harmonious grouping are strikingly remarked, his are not the pictures in which the poet. painter apparent. The painter has developed from the crude translates from air and sea and sky the mingled impressions draughtsman, and diligent but superficial copyist, into the which they have produced upon his imagination. Yet in artist, at whose beck light and shadow, and life and nature, some of his sea pieces, in which he has to deal with a large seem to become willing instruments. expanse of air and distance, in the larger and freer scope thus permitted to his brush, he seems to gain with the freedom of WORMLEY CHURCH AND MEMORIALS, his subject a certain elasticity of feeling and idea. An

HERTFORDSHIRE. example of this may be observed in the fine picture “ St. Michael's Mount" (1344), the romantic natural situation of

(Continued from page 6.) which gives rather the impression of some “castle in the In the middle aisle of the chancel, the head nearly touching air,” than of a substantial English habitation. The light, the extremity of the nave, is a black slab, well worn, with fresh tones, and the general local characteristics of the some portions of the inscription now illegible. Round the Cornish coast are well rendered. The picture is the joint slab is inscribed the 40th verse of the sixth chapter of St. work of Creswick and Mr. Ansdell, R.A. The sky is breezy John, to which verse I would refer your readers for the and full of motion, and the sea dashes against the shore elucidation of the existing breaks :in wild white jets of spray. A general feeling of space


AND THIS IS THE WILL O freshness pervades the picture. On the opposite side of the gallery, we have the reverse of this in " The Kingfisher's | SENT ME THAT EVERY ONE WHICH SEETH THE SONNE AND Haunt" (1182). It might fitly be called a woodland interior, and is a picture one would be well pleased to have for a daily EV-ATING LIFE & I WILL RAISE HIM VP AT VE LA-companion, refreshing to look upon at odd moments, with

0. 6 V 4OTH cool, deep water, pleasant to see on hot days. Near this are This slab commemorates that two interesting heads by Phillip, “Portrait of a Lady” (1184)

HERE LYETH YB BODY OF ANNA and “Study of a Roman Peasant Girl” (1185). A striking

TOOKE ELDEST DAVGHTER TO contrast they present--the sensitive and pensive reflectiveness of the northern lady, and the rich prononcé beauty of the


East KENT & WIFE TO GEORGE peasant of the Campagna. Beneath these is a much

TOOKE OF P-IN YE COUNTY older work of the painter, “Presbyterian Catechising

OF HERT-GROANEINGE (186). It has almost as many cracks on its surface os a Holbein, and it is nearly as crude and hard as Holbein; but many of the faces are excellent in expression, the grouping is effective and agreeable, and as a picture of

DECE national characteristics it is specially valuable. this (1188) is the “ Sketch for the Picture of the Marriage

There is also in the middle aisle, and near the altar-rails, of H.R.H. the Princess Royal with the Crown Prince of a similar slab, but bearing the following inscription :Prussia," which, at the time it was painted, excited admira- HERE LYES VE BODY OF MARY SHEERE WIDtion among artists for the skill with which the large and

DOW YE RELICT OF ARTHUR SHEERE ESQ & difficult masses of white were treated. A few steps further, DAVGHTER OF IOHN GARDINER DR OF YE LAWES and we have “ Pasquccia” (1198), a grand Roman head WHO DYED ye 18th DAY OF IVLY 1660 & in ye with outline and bearing such as the Imperial city alone can 75TH YEARE OF HER AGE LEAVEING MARY boast; and near it “Doubtful Fortune" (1203) attracts the HER SOLE DAVGHTER & HEIRE THEN WIDDOW eye by its strength and vivacity. A fair Senora is awaiting

& y® RELICT OF FRANCIS FORSTER ESQ. the decision which the eager, cunning fortune-teller with her glowing smile is auguring from the cards in her hand.

A black tablet on the north wall of the chancel is thus inThe work is a perfect gem, and a most excellent example

scribed :of the master. Almost the most remarkable picture in this

prope hic (in cæmeterio) iacet gallery is “ The Officer” (1332). This, the painter's last

DAME MARY GLASCOCK LATE finished work, for life-like expression and thorough technical

WIFE OF S« WILLIAM GLASCOCK mastery, is unrivalled. The eyes possess a reality and specu

KT FORMERLY THE WIFE OF lation wonderful to behold, seeming to follow and look

FRANCIS FORSTER ESQ. DECEASED out upon the spectator wherever he may place himself. A

SHEE DYED THE LAST DAY OF MARCH decade, and even less, made all the difference in the artist's

1670 WITHOUT ISSVE SHEE WAS handling of the brush and perception of effect. If we look

DAVGHTER OF ARTHVR SHEERE ESQ. at the pictures painted about the years 1853-4 and those

& MARY (GARDINER) HIS WIFE between 1864-7, the increase in grace, style, tone, and

BOTH DECEASED. general taste, as well as the improvement in the artistic use of material, are most apparent. In the earlier pictures, we find all events will supply the missing portions :

I append part of Salmon's version of the inscription, which at energy and character abundantly present, but, at the same

“Of Popes in the county of Hertford, Esq. Groaning time, much vulgarity, and a hardness of outline and flesh under corruption till that great day. She dep. this life Dec. 9th, extremely unpleasing. The flesh-painting of the later period,


À Thomas Tooke was a benefactor to this parish. “In 1684 a when narrowly examined, seems produced by a collection of messuage and five acres of land in Cheshunt, now let (1826) to James indefinite touches. No distinct outlines are perceptible, Ebbon, were purchased and conveyed to Trustees in, trust every but the faces have the semi-transparency of living flesh, with Christmas day in pursuance of a direction in the Will of Thomas its brilliant tints and its delicacy of texture. A few of the ing six blue coats, six yellow petticoats, six pair of blue stockings and

Tooke, dated 9th June, 1670, to lay out 32., part of the rents, in provid. paintings ncar the entrance of the gallery illustrate these bonnets for three of the poorest boys and three of the poorest girls remarks.. Compare the two large pictures “Life among of this parish, two of which six boys and girls to be yearly named by the Gipsies--Seville.” (1343), painted in 1853, with. The parishioners, and the rest of the rents to be disposed of to the most

the owners of Wormley Bury and he others by the major part of the Early Career of Murillo" (1329), painted in 1865, or “ Study aged men and women of the parish, at the discretion of the major of a Head (1221), painted in 1859, with “ Dolores, a part of the parishioners. The present trustees are Sir Abraham Study.” (1334), or " The Officer” (1332), painted respec- Hume, Alexander Evelyn, Esq.

, Rev, T. M'Cullock, George Weltively in 1864 and 1867. In the two largest of the works stead, Esq., Mr. James Ellioti, Mr. Richard Iredale, Mr. William

Akers, and Mr. William Wiseman. 1826."

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