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THE ARTS, LITERATURE, &c. Missus. AGNEIW has opened at their rooms in Water- loo-place, London, an exhibition, which, simple as it is,' cannot fail to interest every true lover of art. It con- sists merely of two pictures, but these are the last painted—indeed, they were left unfinished- by the great artist, Mr. John Phillip, R.A., whose loss we have all so recently had to deplore. They are large -and im- portant both are illustrative of the same subject—a Spanish lottery • but there is great variety in the 'character of the various figures of which they are com- posed, whilst the force of treatment is remarkable, and they exhibit Mr. Phillip's profound knowledge of 5 Spanish life- In colour and composition they are • 'iimoafst the finest works of the painter; in the former they, are rich in harmony as well as in-that force which his comjnand of colour enabled him to throw into every .ce .subject he touched. The power over character which is displayed in these works is marvellous; no description eoftld do justice to them, or, indeed, give any notion of their specific qualities. There is that general know- ledge of life, combined with inventive power, that is indicative of true genius; they are truth expressed in art. THE second portion of the collection of the National Portrait Gallery which is, now open even excels in interest the first. Not that the romantic element of history is so strong as it was in the period which com- prised the feeble glimmerings of art as illustrative of the Plaatagenet days of our history the broader certainty of the Tudor era, or the richness of artistic talent which was thrown into the illustrations of our chronicles in the portraits of our great men and eminent personages that were painted by Holbein, Van Somers, Vandyke, and Leir, with many others; but we have emerged from frequent doubt into almost continual certainty, and the rise of national art may to a great extent be traced in the series of portraits now exhibited, extending from the fall of the Stuarts far down uto the Georgian era-in fact, touching upon our own <lay; The series begins, aptly enough, with Vander- 'meulen's picture of the Dutch William's entry into London, only a portrait in a secondary sense; there are, however, more than one portrait of William the Third himself, several of his immediate associates and supporters, as well as of the men who supported with dignity and loyalty the fallen fortunes of the Stuarts, and who struggled to restore them. Literature is re- presented by Newton, and Locke, and Dryden divinity by Burnet (courtiership as well in his case), Tillotson, and South statesmanship by Halifax, Godolphin, Somers, and Sunderland military and naval talent by Marlborough, Doolie, Berout, Ben bow, and Russell; dramatic art by the portrait of Betterton; these, with many others, form a tolerably complete representative collection of the reign of William III. Of course, our "Augustan period is well represented. The crowd of great names which illustrate the reign of Queen Anne is too great for specification. Here are the celebrated "Kitcat" por- traits, of which we have all heard so much, and which but few of us have seen. Addison, Steele, and Pope, and Prior, and Gay are names, though so great in them- selves, even more interesting as suggesting the long list of names of eminent men in all classes by whom they were surrounded, and whose effigies gleam anew upon us from the walls of the exhibition. The first two Georges mark a less interesting race of public men but who will not be glad to look upon the faces of Walpole, Pulteney, the trickster Bubb Doddington, the heroes of the Walpole letters, the men who gave a tone to the works of Smollett and Fielding ? All through the long reign of the Third George the faces are familiar to most of us, but it will be a welcome opportunity to refresh our recollections and correct our misapprehensions of the appearance of the public men of the period. The present collection is not less interesting as a record of art than of history: its painters are Kneller and Hogarth, Hayman, Zoffony, Hudson, Gainsborough, Reynolds, Romnev, Wright, down to Lawrence, who fixed upon canvas the beauty and grace of living women, and lent his somewhat meretricious power to the perpe- tuation of the features of great men who have not long ceased to walk amongst us. The scope of the collection is wide-celebrities that may be characterised as doubt- ful are freely admitted, but rarely have the chronicles of any nation been so amply and so satisfactorily illustrated by portraits, many of them as valuable artistically as they are historically, as have ours from the 15th to the 19th centmy in the past and present exhibition of national portraits. THE famous Tabula Peutingeriana," a geographical map, drawn in the 16th century by C. Peutinger, at Augsburg, representing a number of the cities of the Western Roman Empire, has been published by Herr Paulus, at Stuttgart. The original is preserved in the Imperial Library at Vienna. "A PSALSI of Life." The words by Longfellow, the music by Georgie C. Ollivier (Ollivier and Co., 19, Old Bond-street). The composer has wedded the words, that are honest and heartfelt, to music that is sound and feeling. There is scholarly style as well as great melody, and we shall expect the lady, whose name is young as a composer, will make ambitious efforts and succeed. MR. MARSHALL WOOD'S Statue from the Song of the Shirt," which was expected to have been exhibited in London this season, will shortly leave for Paris, a space having been reserved for it in the English picture gallery. THE enterprising firm of Messrs. Cassell, Petter, and Galpin are bringing out a book of fables, illustrated by the greatest of artists, M. Dore. We are informed that Cassell's "Book of Fables" will commence with "La Fontaine," translated into English verse by Walter Thornbury. The Art Journal says:—" The illustration of La Fontaine bids fair to rank as the best service M. Dore has rendered the world."







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