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WREXHAM ART TREASURES EXHIBITION.

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WREXHAM ART TREASURES EXHIBITION. LECTURE ON THE BRITISH SCHOOL OF PAINTERS. On Friday evening, Mr Forbes-Robertson delivered his second and concluding lecture at the above exhibition, subject, The British School of Painters." Major Cornwallis West again occupied the chair. The attendance was extremely limited Mr Forbes-Robertson commenced by observing that the circumstances of the times and the march of events generally had been particularly unfavour- able to the growth of art in England. While in Italy during the 15th century art, but particularly painting, flourished in all its branches under the fostering patronage of the princes of the Church, the noble house of the De Medicis, the Dukes of Urbino, and the Doges of Venice, the people of England and of Wales were slaughtering each other in the fiercely contested battles of the Roses f and this terrible internecine conflict, continued during a whole generation, was concluded on the field of Bosworth by the grandson of Owen Tudor, who became Henry VII. Amongst other good, things which Henry VII. did for his countrymen, such as laying the foundation of the future English navy in his ship The Great Harry," was the encouragement which he gave to art. Indeed art patronage, like modern English history, began with this monarch. The most distinguished of the artists employed by Henry was John Mabuse, a fine example of whom would be found in 121 in the catalogue, a small portrait of a gentleman painted on panel. The power of this artist in imitating texture was almost as remarkable as his extrava- gance in money matters. Henry VIII., the son of the preceding, so far as art was concerned, carried on the work of bis father, and took into his service Hans Holbein, a great humourist, philosopher, aDd painter, and the friend of Erasmus, the Dutch Theologian. There was a noble collection of Holbein's drawings at Windsor. Although Holbein had the credit of being severely accurate in his drawings of faces, yet he was not above practising the common flattery of his profession. Lord Crqmwell, Henry's minister, sent this Holbein to take the portrait of Lady Ann of Cleaves, and the painter drew so favourable a likeness. that the king consented to wed her; but finding how much he had been deceived, the storm at first directed to the painter fell on the unhappy minister, and Cromwell lost his head. With the advent of the Stuarts came a still more active patronage of art, and Charles I. not only had the finest, painters in Europe, but was one of the best conniseurs of the time. To him we are indebted for the famous cartoons of Raphael, which he purchased at the suggestion of Rubens, who discovered them amongst some lumber, where they had lain con- cealed after being used by the manufacturers of the tapestry for which they hnd been sent as designs. Charles's collection was dispersed at the Revolution, but Cromwell bought the cartoons and gave them to the nation. Probably he gave £300 or .£400 tor them; but now every single drawing was worth, perhaps, a prince's ransom. England had her artists before the arrival of Holbein. There was a celebrated metal founder who lived in the reign of Henry VI, and executed work which was little idferior of that of his great Italian contemporaries. Moreover, the art of missal painting was carried to great perfection both in Ireland and in the North of England, and during the wars of the Roses native pictorial art flourished in the land up to the time of the Reformation, of which we had evidence in the interiors cf some of our churches while their own parish church showed how far ecclesias- tical architecture had advanced. The tower for stately beauty and design was not to be equalled, much less surpassed, by any tower he could remem- ber throughout the length and breadth of England (applause). But in this country we had no great saint like St. Francis to give an impetus to art; for such was the veneration of his countrymen, that at his death they raised a church to his memory, and called together all the finest painters in Italy to decorate it, which at once gave such an impetus to art in that country that it never flagged for 300 or 400 years afterwards. The consequence was that we had never produced a Cimabue or a Giotto. Of native artists who flourished in the reigns of the Tudors mention was made of Nicholas Hilliard and his pupil Isaac Oliver, the latter one of the finest miniature painters in Europe. Hilliard was much employed by James I., and Oliver worked much for Charles I. For an example of the latter see a portrait of Queen Elizabeth in one of the cases at the further end of the hall. They would also observe a portrait of Mary Queen ot Scots in black head dress and white furred pelisse, which had been ascribed to Nicholas Hilliaid, and which he considered one of the best portraits ex- tant of that unfortunate queen. Charles brought over many foreign artistes. Among them was Schneiders, a disciple of Rubens, who painted the "Lion Hunt" now in the exhibition. Van Dyke, also a pupil of the great Peter Paul, after the death of his master became court painter to Charles I. In the reign 1641, which closed so ominously for the king, Van Dyke died and was buried in St. Paul's. This man was the immediate introducer of modern art into England. He was one of the princes of the pallet, and lived in a style which no cardinal could surpass, leaving property at his death of the value of £20,000. William Dobson was the first English artist of any eminence who painted life-size portraits. His art education consisted in copying Van Dyke's and Titian's works, and on the death of the former became serjeant painter to Charles. He died at the early age of 36. The magnificent pictures on the walls of this exhibition of King Charles I., and the Prince of Wales and Henrietta and her little son, afterwards James II., were undoubtedly copies from Van Dyke painted by Dobson. Another man made of Van Dyke metal was Sir Peter Lely, who came to England in 1641, and who painted all the famous beauties of Charles the Second's dissolute court. Van Dyke was always much lauded for his hands. The ladies' hands he copied from those of his wife, Mary Ruthven.the daughter of a Scotch gentle- man, and his own hands, which were very tapering in the fingers and ladylike supplied him with a model whenever he painted men's portrait?. I Cooper, of whom there were examples in the exhibition, was a famous miniature painter, and we had none like him until we came to Andrew Robinson, who created modern English miniature painting. Sir Godfrey Kneller, a second Sir Peter, was represented in several portraits in this collection. Although this artist painted all the crowned heads of his time both here and on the Continent, there was a native artist who was quite I as good a painter called John Riley, who received no small amount of patronage from the court and the country gentry. Another artist, Jonathan Richardson, was not only a good portrait painter j but a profound critic, more technically learned even ( than Ruskin, though not possessed of Euskin's eloquent command over the English language. From Van Dyke's time art deteriorated greatly, and the manner of painting had also become dreary and, like the monstrous wigs of the period, very formal a.nd lifeless. This Richardson was the master of Hudson, who in turn became master to Sir Joshua Reynolds. But all this time pure English art was confining itself to portraits, and mostly only heads, and the prevailing taste had rather repressed any desire on the part of artists to wander into the regions of sacred art. Sir James Thornhill was largely employed in painting St. Paul's and Greenwich Hospital, and many private houses still to be found about the purlieus of Soho bore traces of his workmanship. He had a hand- some, healthy, upstanding daughter, and she having a will of her own married much against her father's inclinations, a keen-eyed, square-headed young man whose name was William Hogarth (applause), a self-taught artist; and so far as the art of paint- ing was concerned he might be truly called the founder of modern English art. His contemporaries of the time, although scarcely his contemporaries in talent, were Sir Joshua Reynolds, Gainsborough, Romney, and Copley among the Englishmen, and the glorious Welshman, Wilson (applause). This Sir Joshua came up from Devonshire, and went in for Venetian colouring; while Remney prided himself on the thorough expression of form. Gainsborough eqalled Sir Joshna in colour and had a delicacy peculiar to himself; and whilst he rivalled Sir Joshua in portraiture he fairly divided the laurels in landscape with the great Wilson. "The Market Cart" in the Exhibi- tion was a splendid example of his skill in landscape. Copley, the father of Lord Chancellor Lyndhurst, painted that spirited portrait of Heber when a boy of 13. Wilson, of Montgomeryshire, who must be looked upon as the father of landscape art in Eng- land, and the in°pirer to a great extent of Turner, Cope, and a host of others, was one of the original 36 members of the Royal Academy; and those two grand landscapes 393 and 394 showed how full of power and classical feeling his works really were, partaking much of the style of Claude and Salvator Rosa. And yet this man, like their Exhibition, was not appreciated in his day. Then came Con- stable, with his dewy meadows, who wasrepresented there in his famous picture of The Lock." As an example of Turner, at 4-he best of his prismatic period, he would point to his view of rocks and sea and a beautiful hazy effect as being full of fine colouring; while they got a full sense of wave power in Cotman's entrance to a cave on the Cornish coast. For simple landscape, there was wonderful power also in Barker. These were the men, especially Constable, from whom the modern school of French landscape painters derived its in- spiration. Having remarked that the Reformation by snapping our religious history had no doubt acted prejudically on native art, the lecturer pro- ceeded to observe that they had all heard of the famous Gainsborough that was stolen the other day, the "Ten Thousand Guinea Duchess." as she wa3 called. Well, they would find in 264 another portrait of the stolen Duchess. He was perfectly satisfied that the man who painted the face of the Stolen Gainsborough" was not Gainsborough but Sir Thomas Lawrence. It was a portrait that Gainsborough had evidently begun and never finished; but through the competition and the tricks of the auction-room it was run up to ten thousand guineas, to be afterwards so neatly cut out of its frame and stolen. Its absolute value was very likely about .£100; so much for historic associations (laughter). This was the famous Lady Betty Foster, second wife of William fifth, Duke of Devonshire. The Lady Betty they had there was wor^h quite as much, and if they could not show them the ten thousand guinea beauty, they could show them Lady Bet ty's second husband on the left as they entered the hall. Hogarth, when he started with his figure painting, hal imbibed much of the manner and spirit of the Low C rtries, the Tenniers men, and rather worse, the familiar delineators of domestic and rude life, We had nothing to go upon in the way of any other sort of art, and Hogarth having struck the key note we seemed to go up in our art until he was again touched by Wilkie in a sweeter way but not more powerfully, and by Mulready, Webster, and others. The modern Scotch school expanded it a little and introduced more of the heroic element, but they could see that art in England all through had never had any ecclesiastical side to it, and had never had anything of an historic aspect at ail, and for the reasons he hoped he had tried to ex- plain. the unprecedented war of the Roses and the Reformation. Speaking of modern artists, the lecturer mentioned the names of Holman Hunt, J. B. Watson, and William Davies, of Liverpool. The latter, a great landscape painter, was com- paratively unknown to fame but he was satisfied that five years hence his works would fetch ten times, if not twenty times, more than they fetched now. In London, when perfectly well known, his works would command any price- Then there was Maddock's Brown, whose wonderful picture of King Lear was in this exhibition, and Gabriel Rossetti, the most strong-headed of all the pre- Raphaelite school, who was not only a painter but a poet of no ordinary wit. They might see some of his works here, though they were never exhibited in public exhibitions. Whenever he painted a picture, he called a of his friends together to show it them and hear their remarks. His works were remarkable for a rich wonderful glow of colour He and others of thepre-Raphaelite school created a great stir in England some twenty or thirty years ago, by introducing a new and peculiar style of painting, which, discarding general effect, went in for imitating grain and texture and every- thing else in the the closest manner, but in doing so they often forgot the rules of perspective and the difference arising from the distance of objects from one another. But they produced a revolution in painting, and made art in the country a much more serious profe-sion, and artists moie hard working and painstaking; and although their mission had passed awqy, still they were men to be respected on account of what they had accomplished. One of the foremost of the pre-Rapliaelite brother- hood was John Everett Millais, who painted the three Ladies Grosvenor. After he had made a great fame as a pre-Raphaelite, he changed his style, and began with, A British Lady lamenting the de- parture of the Romans." He (the lecturer) looked upon these three pictures as a culmination of his genius, as far as dexterous power of brushwork was concerned, and they could not have finer examples. These pictures had been sent first to them they had not been seen anywhere else (applause). The Marchioness of Ormond, when a little girl painted by Mr Cholmondeley, was close by, and they could thus have an opportunity of comparing the child with the full-grown woman. There were beautiful drawings by Turner and Cox, and other great fellows; but it was impossible to go into a criticism upon them. He could talk to them for many nights, but they could see how impossible was the task. They would understand how anxious he was to tell them anything he knew himself so as to help them to a better appreciation of all the marvels of this great Exhibition, for he assured them it was a very great Exhibition (applause). He could not help mentioning the names of the contributors, Sir Watkin Williams Wynn.the Duke of Westminster, Mr Cornwallis West, Mr Rae (of Birkenhead), Mr J. F Jesse, the Hon. George T. Kenyon, Mr Middleton Biddulph, Mr Townshend Mainwaring, Sir Richard Brooke, Mr W. W. Wynn (of Peniarth). and a host of others that must occur to them. He hoped they would feel with him that these men had done their duty as county gentle- men, and as men having a stake in the country, in supporting this Exhibition in the handsome manner they had done (applause). In bringing his remarks to a conclusion, though he confessed to a little dis- appointment at the smallness of the attendance. he hoped the result of these lectures would be to spread a taste for the esthetic in art in this neighbourhood. Let it not be said that these con- tributors, that these gentlemen, whose names he had mentioned, had appealed to a higher instinct than they possessed, that they had laid before them art treasures which they could not appreciate. Rather let it be said that the people who were the best choral singers in the world, and who in their eisteddvodau could preserve with such reverence the traditions and customs of their ancestors, the people who could produce such artistes as John Thomas and Madame Edith Wynne, and give them such glorious national music, could also keep pace with the march of intellect, and while retaining a reverence for the past, delight in the practice of all that is beautiful (loud applause). Dr. Williams, in moving a cordial vote of thanks to the lecturer, expressed the obligations of the audience for the very interesting way in which these lectures had been delivered and thought they would have the effect of deepening the im- pressions produced upon their minds by the beauti- ful objects they saw around them. He also paid a warm tribute to Major West as the originator of an exhibition which had been expanded far be- yond its original dimensions, and had become the astonishment and wonder of everybody (applause). The proceedings then concluded.

BOROUGH PETTY SESSIONS.

COUNTY MAGISTRATES' COURT.j

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