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through ideal form, and belong essentially to the school of drawing, as distinguished from masters in whom colour, light, shade, and mere pictorial effect, are dominant; a school of which Raphael and Michael Angelo were in Italy the leaders. In lower rank follow Horace Vernet, Yvon, and others, painters who are the Alexandre Dumas and the Eugene Sue of pictorial art, great in melodrama and sensation-artists, indeed, not to be surpassed for graphic force and pictorial plot. The number of French painters is in fact legion, and we cannot attempt their enumeration. But we must not wholly pass by a certain class of brilliant little pictures "de société," works sparkling in detail and pointed in incident, wherein Meissonnier and others are without rival, even among the Dutch of a past epoch. Thus French art is of itself a world complete and many-sided; an art, if not always to be praised for its proprieties, yet certainly to be admired for its power. No wonder that other nations are found affiliated with this great school; no marvel that Parisian art has thus grown cosmopolitan.

The German school was in Paris inadequately represented. Cornelius and Kaulbach were seen only in cartoons; Overbeck did not contribute a single picture-frescoes, indeed, cannot become itinerant. Hence it is probable that in London, in like manner, the grand and ambitious genius of Germany will be seen only on a minor scale. The present centres of Teutonic art are Dusseldorf, Berlin, and Munich. The great painters of the modern revival are Overbeck, Veit, Shadow, Cornelius, Hess, Kaulbach, Müller, and Ittenbach, the apostles and disciples of so-called Christian Lessing, well known by his great work, 'Huss before the Council of Constance,' in the Städel Institute of Frankfort, is the champion of

art.*

Protestantism. This modern German school is distinguished from the French and the English by welldefined characteristics. The French paint man acting; the Germans man thinking; the French artist is apt to take the world as he finds it; German painters, like German authors, speculate, refine, and idealise. German art is, in short, like German literature, addicted to metaphysics, and is tainted by an excess of self-consciousness; and thus it holds often but too shadowy relation with nature and the external world. The school of Dusseldorf is of course known as one of the chief centres of modern art. It is the cradle of German spiritualism. Yet likewise it has given birth and shelter to noble landscape. Scandinavian students flock to Dusseldorf; and the artists of Dusseldorf in turn love to roam among the fiords and mountain wilds of Norway. The landscapes of Leu, Achenbach, and others have indeed long acquired European repute, and adorn many of the private collections in this country.

The characteristics of our English school are too well known, at least in this country, to require special comment; suffice it to say that the chief among our native artists will be seen in the present Exhibition to full advantage. The series will commence with Hogarth, represented by the 'Marriage à la Mode,' the 'March of Finchley,' and "The Harlot's Progress.' Reynolds will be represented by upwards of thirty works; Gainsborough and Constable by about a dozen; Turner by ten; Wilkie by fourteen; Wilson and Bonington by six; Muller by five; Lawrence by eight; Etty by ten; and Leslie by twelve. Martin can be seen in his 'Belshazzar's Feast;' Danby in the 'Passage of the Red Sea,' and 'The Opening of the Sixth Seal;' Hilton by 'The Crucifixion;' West by 'The Death of Wolfe;' Haydon by

* For more detailed description of the modern German school, see 'Munich and its School of Christian Art,' Blackwood's Magazine, May 1860.

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The Judgment of Solomon,' perhaps his greatest work; Stothard by The Canterbury Pilgrimage.' Among living artists, the President of the Royal Academy, Sir Charles Eastlake, will send The Escape of Francesco Carrara,' 'Christ Blessing Little Children,' and the Greek Fugitives from Scio.' Mr Ward is represented by 'The Antechamber of Whitehall'-exhibited in the last Academy-The Fall of Clarendon,' and Charlotte Corday going to Execution;' Mr Poole by Solomon Eagles;' Mr Redgrave by 'Quentin Matsys;' Mr Mulready by The Bathers' and The Wedding-Gown;' Mr O'Neil by 'Eastward Ho!' Mr Maclise by Caxton' and 'The Banquet Scene in Macbeth;' Mr Frith by The Ramsgate Sands;' Mr Elmore by 'The Tuileries;' Mr Solomon by Waiting for the Verdict;' Mr Goodall by 'Felice Ballarin;' Sir Edwin Landseer by 'Bolton Abbey ;' Mr Roberts by "The Ruins of Baalbec;' and Mr Stanfield by 'The Abandoned' and 'French Troops Crossing the Tyrol.' Of pre-Raphaelite pictures we shall haveApple Blossoms,' Autumn Leaves,' The Vale of Rest,' 'The Light of the World,' and' The Dead Stone-Breaker.' Our English school, then, both in its past history and its present position, will, as we have said, be fairly and fully represented.

The value of the Fine Arts section, the province of the picture-galleries in the wide range and collective purpose of the entire International Exhibition, cannot be better indicated than in the words of Mr Redgrave. In his Report on the Paris Exposition he thus writes: "It may be allowed to speak of the great value of the Fine Art section of the Universal Exhibition as affording a means of making the various contributing nations acquainted with their relative progress and standing in art, and of doing away with many traditional errors and national prejudices. Herein it was seen that art was not limited to any clime or country - countries far north sending works of genius

VOL. XCI.-NO. DLVIII.

which were wanting from Italy, the land of their birthplace. In this collective exhibition the students of art could see and weigh the relative merits and defects of the modern schools in invention, imagination, form, colour, and execution; and each learning of each, it may be hoped that greater general excellence will be the result. Nor will its effects be lost on the industries of the various lands, since there can be little doubt that the industrial arts in any country progress with the advance in fine art, and decline with its decline; and that the nation that would add taste to skill in its manufactures can little hope to do so unless by a general and generous cultivation of the arts."

British sculpture will contribute from eighty to a hundred figures in marble, about twenty works in plaster, and fifty busts. Nine important groups from the MansionHouse have been liberally lent. Of deceased sculptors Flaxman and Wyatt will each be seen in one or more works. Among the living, Mr Gibson from Rome sends his

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Cupid,' ' Venus,' and 'Pandora ;' Mr Gatley a large and very remarkable bas-relief, The Overthrow of Pharaoh in the Red Sea ;' and Miss Hosmer, one of her latest and most successful figures, 'Zenobia crowned as Queen, and chained as Captive.'

The public in some of these works will be afforded an opportunity of determining a point already much debated, the propriety of coloured statues. Mr Gibson, it is well known, strongly defends the use of a conventional colour-not naturalistic, be it remembered-as consonant with the practice of the Greeks, and consistent with the principles of correct taste. The question is of course beset with many difficulties, and may perhaps in the end be resolved into a matter of circumstance and detail. This much at least must be conceded, that absolute and positive white appears crude, and is often even offensive. Sculptors frequently, it is well known, prefer marbles of a

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creamy tint; the ancients introduced into some of their famed works ivory, jewels, and gold; and the use of bronze in all countries and epochs sufficiently shows that the uncompromising advocates of white marble have little upon which to rely save modern practice and prejudice. Still it cannot be doubted that white, with its modest light and shade, is safest, and to the varied and frequently undefined circumstances of situation generally the best suited. The whole question of colour, in fact, must be treated either boldly, or not handled at all. If a statue be tinted, so likewise must be the background and all accessories, otherwise the result cannot escape distressing discord. Therefore, we again repeat, the practice for which Mr Gibson and others contend is not so much a matter of abstract principle as of circumstance and detail; and until we are prepared to paint our architecture, we shall probably decide to keep our statues within the limits of quiet greys, or, at most, of the unobtrusive tertiaries. The English eye certainly remains as yet averse to decided positives. Still, it must be admitted that of late years we have in chromatics made rapid advances, and perhaps, ere the lapse of another decade, what is now merely in debate may have reached decision. Colour, in its due distribution and equal balance, has become matter of actual science and certainty. The discoveries of Chevreul in France are now common to England and the world; and the present Exhibition will doubtless, not only in its statues, but also in its pictures, textile and

other manufactures, be made the field whereon the battle of red, yellow, and blue will once more be fought out. The decoration of the building itself, under the judicious direction of Mr Crace, is likely to prove a success. Our school of English painting is, for colour, perhaps the first in modern Europe. Surely there is no reason why in staple manufactures we should not show ourselves equally skilled.

The nations are invited to a jubilee, but they will find the land in mourning. in mourning. Imperial robes are turned to sackcloth, and she who bears the sceptre is bowed in sorrow. The congress of princes and peoples will want its chief. The head which directed in wisdom is now laid low. But great thoughts perish not, grand ideas live on as the heritage to survivors. The Prince whose loss we mourn, and whose memory we cherish, devoted no small portion of his life to the service of those arts which the Exhibition is designed to illustrate. His sagacious mind seized upon art, indeed, as an appointed means and an efficient agency to a people's exalted culture. Science he loved, as the daughter of nature and a helpmate to man; and hence he sought, with a diligence that never wearied, with a knowledge which had scarcely its equal, to secure for the country of his adoption those high benefits to which science, art, and allied industry are ever found to minister. Be it our privilege and abiding duty to accomplish the ends for which he nobly lived. The International Exhibition was his fond design. Si monumentum requiris, circumspice.

CHRONICLES OF CARLINGFORD: SALEM CHAPEL,

PART III.-CHAPTER VIII.

THE events above narrated were all prefatory of the great success accomplished by Mr Vincent in Carlingford. Indeed, the date of the young minister's fame-fame which, as everybody acquainted with that town must be aware, was widely diffused beyond Carlingford itself, and even reached the metropolis, and gladdened his Alma Mater at Homerton-might almost be fixed by a reference to Lady Western's housekeeping book, if she kept any, and the date of her last summer-party. That event threw the young Nonconformist into just the state of mind which was wanted to quicken all the prejudices of his education, and give individual force to all the hereditary limits of thought in which he had been born. An attempt on the part of the Government to repeal the Toleration Act, or reinstate the Test, could scarcely have produced a more permanent and rapid effect than Lady Western's neglect, and the total ignorance of Mr Vincent displayed by polite society in Carlingford. No shame to him. It was precisely the same thing in private life which the other would have been in public. Repeal of the Toleration Act, or re-enactment of the Test, are things totally impossible; and when persecution is not to be apprehended or hoped for, where but in the wrongs of a privileged class can the true zest of dissidence be found? Mr Vincent, who had received his dissenting principles as matters of doctrine, took up the familiar instruments now with a rush of private feeling. He was not conscious of the power of that sentiment of injury and indignation which possessed him. He believed in his heart that he was but returning, after a temporary hallucination, to the true duties of his post; but the fact was, that this wound in the tender

est point-this general slight and indifference-pricked him forward in all that force of personal complaint which gives warmth and piquancy to a public grievance. The young man said nothing of Lady Western even to his dearest friend-tried not to think of her except by way of imagining how she should one day hear of him, and know his name when it possessed a distinction which neither the perpetual curate of St Roque's, nor any other figure in that local world, dared hope for. But with fiery zeal he flew to the question of Church and State, and set forth the wrongs which Christianity sustained from endowment, and the heinous evils of rich livings, episcopal palaces, and spiritual lords. It was no mean or ungenerous argument which the young Nonconformist pursued in his fervour of youth and wounded self-regard. It was the natural cry of a man who had entered life at disadvantage, and chafed, without knowing it, at all the phalanx of orders and classes above him, standing close in order to prevent his entrance. With eloquent fervour he expatiated upon the kingdom that was not of this world. If these words were true, what had the Church to do with worldly possessions, rank, dignities, power? Was his Grace of Lambeth more like Paul the tentmaker than his Holiness of Rome? Mr Vincent went into the whole matter with genuine conviction, and confidence in his own statements. He believed and had been trained in it. In his heart he was persuaded that he himself, oft disgusted and much misunderstood in his elected place at Salem Chapel, ministered the gospel more closely to his Master's appointment than the rector of Carlingford, who was nominated by a college, or the curate of St Roque's,

who had his forty pounds a-year from a tiny ancient endowment, and was spending his own little fortune on his church and district. These men had joined God and mammon -they were in the pay of the State. Mr Vincent thundered forth the lofty censures of an evangelist whom the State did not recognise, and with whom maimon had little enough to do. He brought forth all the weapons out of the Homerton armoury, new, bright, and dazzling; and he did not know any more than his audience that he never would have wielded them so heartilyperhaps would scarcely have taken them off the wall-but for the sudden sting with which his own inferior place, and the existence of a privileged class doubly shut against his entrance, had quickened his personal consciousness. Such, however, was the stimulus which woke the minister of Salem Chapel into action, and produced that series of lectures on Church and State which, as everybody knows, shook society in Carlingford to its very foundation.

"Now we've got a young man as is a credit to us," said Tozer;" and now he's warming to his work, as I was a little afraid of at first; for somehow I can't say as I could see to my satisfaction, when he first come, that his heart was in it,-I say, now as we've got a pastor as does us credit, I am not the man to consider a bit of expense. My opinion is as we should take the Music Hall for them lectures. There's folks might go to the Music Hall as would never come to Salem, and we're responsible for our advantages. A clever young man like Mr Vincent ain't to be named along with Mr Tufton; we're the teachers of the community, that's what we are. I am for being public-spirited -I always was; and I don't mind standing my share. My opinion is as we should take the Music Hall." "If we was charging sixpence a-head or so" said prudent Pigeon, the poulterer.

"That's what I'll never give my

consent to-never!" said Tozer. "If we was amusin' the people, we might charge sixpence a-head; but mark my words," continued the butterman, "there ain't twenty men in Carlingford, nor in no other place, as would give sixpence to have their minds enlightened. No, sir, we're conferring of a boon; and let's do it handsomely, I say-let's do it handsomely; and here's my name down for five pound to clear expenses: and if every man in Salem does as well, there ain't no reason for hesitating. I'm a plain man, but I don't make no account of a little bit of money when a principle's at stake."

This statement was conclusive. When it came to the sacrifice of a little bit of money, neither Mrs Pigeon nor Mrs Brown could have endured life had their husbands yielded the palm to Tozer. And the Music Hall was accordingly taken; and there, every Wednesday for six weeks, the young Nonconformist mounted his cheval de bataille, and broke his impetuous spear against the Church. Perhaps Carlingford was in want of a sensation at the moment; and the town was virgin soil, and had never yet been invaded by sight or sound of heresy. Anyhow, the fact was, that this fresh new voice attracted the ear of the public. That personal impetuosity and sense of wrong which gave fire to the discourse, roused the interest of the entire community. Mr Vincent's lectures became the fashion in Carlingford, where nobody in the higher levels of society had ever heard before of the amazing evils of a Church Establishment. Some of the weaker or more candid minds among the audience were even upset by the young minister's arguments. Two or three young people of both sexes declared themselves converted, and were persecuted to their heart's desire when they intimated their intention of henceforward joining the congregation at Salem. The two Misses Hemmings were thrown into a state of great distress and perplexity, and wrung

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