422 FINE ARTS. 



have arrived at wonderful excellence. The higher order of landscape 

 composition is but little patronised, and, therefore, but little cultivated. 



The muster of so many Worcester contributors is greatly to the credit 

 of their industry and honourable to their talents, although it cannot be 

 expected that all are equal, and there are a few very inferior, such as we 

 meet in all miscellaneous collections. Several of these candidates have 

 already deservedly acquired a local reputation, and many are on the 

 advance with a very favourable promise of speedy success. Their names, 

 with the amount and class of their works, will be an interesting docu- 

 ment for future reference, and I here insert it as such, without space, 

 time, or health to notice particular excellence. S. Cole has one portrait 

 (large, in oil) ; J. Clements six ditto in miniature; J. W. Slater four 

 ditto, some tinted on paper ; Jos. Taylor one ditto, in enamel ; T. Edg- 

 combe three local views ; Henry Hill nine ditto, and one landscape study ; 

 H. H. Lines two Baronial halls, and twelve local views; J. Oldnall one 

 ditto ; Jos. Powell one landscape composition and nineteen local views ; 

 Wm. Wood six ditto ; John Wood three ditto ; J. Wood, Jun. two ditto ; 

 E. L. Williams one ditto ; H. Whiting one landscape composition ; J. 

 Pitman a magpie entrapped, a buck's head, and four of horses and dogs ; 

 H. Eginton two architectural designs ; J. Riches one ditto ; J. Varden four 

 ditto. J. Stephens (I believe the only resident sculptor) four busts. 

 An impartial examination of these 104 performances is well worthy atten- 

 tion to show the state of the arts in this part of the kingdom. I think 

 they will afford an unprejudiced amateur a fair opportunity of selection, 

 and he will probably agree with me that the specimens of excellence 

 are far beyond what might be expected from the patronage which the 

 vicinity affords. 



This cursory general notice is by no means intended or offered 

 as a review of the pictures. Neither my present very severe indis- 

 position, which renders any close application dangerous, nor my limits, 

 restricted to this single communication on account of the change of 

 ** The Analyst" from a monthly to a quarterly publication, leave me the 

 power to do more than furnish a brief record of the whole in the 

 forthcoming publication for July. Under other circumstances, I would 

 gladly point to the works of every exhibitor, as I did last year in my 

 letters under the signature of Lorenzo ; but as it is impossible for me to 

 enjoy a similar gratification now, these few critical observations are 

 written to draw the attention of the public to the splendid merits of the 

 exhibition, and to promote the general interests of the arts as a great 

 national concern, and not from any personal feeling for the artists men- 

 tioned, or against those whose works I am necessitated, sorely against 

 my will, to pass in silence. 



The "admirable Creswick'' has two local transcripts; '*No. 9 — A dis- 

 tant view of Battle, Sussex," is every way worthy of his distinguished 

 reputation. The force and spirit of the fore and middle grounds, the 

 tender gradations in the going off of the distances, the truth of the local 

 colouring, and the beautiful breadth of light and shadow, render this a 

 model for a young landscape student. The touch is everywhere firm, 

 and the definitions marked with delicacy and spirit. The group of cattle 

 which a man is driving near the foreground, would not discredit the 

 taste of Berghem, or du Jardin, and three figures sitting on a fallen 

 tree, are happily introduced and painted with freedom. If there could 

 be any addition to heighten the attraction of the effect, it would be a tall 

 massive tree or cluster of trees on, or near, the foreground, to present a 

 rich mass of shadow against the wide extent of sky. 



'* 12l^Near Bedgellart, North Wales," by Creswick, has merit, but 



