262 



FINE ARTS. 



BIRMINGHAM EXHIBITION OF MODERN ART. 



( Continued from page 203.^ 



Having engaged a. franked seat out and home, on the 30th ult. I made 

 another journey to Birmingham solely for the gratification of again 

 committing to paper a few additional notes from the productions of 

 the British pencil and chisel, now open to the public in the Academy of 

 the Society of Arts. I spent the greater part of that and the succeeding 

 day with unabated pleasure, and left the rooms with regret that my 

 avocations did not permit me to make a longer stay. For, in plain truth, 

 it would require very many days to examine and fully appreciate the various 

 works of merit in th^t splendid collection. I now submit the following 

 remarks to your readers, with a hope of contributing my small share of 

 aid, as a gratuitous volunteer, to keep the important subject of modern 

 art stirring in the public mind. My restricted limits and ill health 

 confine my pen, but the three local newspapers will, no doubt, feel an 

 honest pride in furnishing regular critical notices, during the exhibition, 

 and will give a well-merited support to those laudable efforts of their 

 townsmen, and the genius of the British school. 



But, first, let me observe that the 8th, 9th, and 10th lines from the 

 bottom of page 202 in your last " Analyst,*' ought to have been thus : — 

 *' In the sculpture room, there are two superb busts in marble, by P. 

 HollinSy one of them the Hon. Mrs. Norfon, the other John Bird, Esq. 

 These, with a noble model of Wm. Hollins, Esq. and his marble statue 

 of the daughter of Vincent Thompson, Esq., a production of exquisite 

 taste and beauty, place this sculptor in the first class of his profession." 



" 138 — Portrait of Mrs. Massenger" — a half-length, with a hand intro- 

 duced, by T. Wyatt. The face is nearly in a front view ; the head clear 

 and well coloured, with a mellow freshness in the flesh tints, a great 

 look of individual nature, and a spirited effect of light and shadow. It ia 

 painted with a strong, free pencil, suflficiently sharp and delicate in 

 deciding the features and lighter parts of the dress. 



The hero of " 345,*' by R. T. Bone, is a youthful troubadour, of a 

 genteel figure, with hat and feather, in the gay costume of the chivalrous 

 ages, in search of adventures. A greyhound is crouched behind him, 

 as he stands near the centre, in an appropriate attitude, bending 

 respectfully down, relating his " moving accidents" in castle, hall, and 

 bower, to three young ladies, and their mother. They are seated on the 

 greensward, with refreshments beside them, under the umbrageous 

 canopy of a lofty grove. The fair listeners are in the attire of rank, 

 and agreeably grouped. Their positions are pleasingly contrasted ; a 

 back-view, a front, and a profile. The matron rounds the group, and a 

 wide-mouthed page and ugly black boy, standing immediately beyond 

 them in attendance, give it fulness. The landscape is well designed and 

 freely painted, in a quiet, subordinate tone. The colouring is mellow ; 

 and, amidst much attraction, I see nothing to question but the red on 

 the cheek of the lady in profile : it appears rather obtrusive, and wants 

 something of the delicate clearness of nature. 



"338"— by G. A. Vickers. The attention is here fixed at once. A 

 fishing vessel, in a bold, picturesque view, is making good her entrance 



