116 BIRMINGHAM SOCIETY OF ARTS. 



ther and child in the inimitable picture we first noticed, are ex- 

 amples which cannot be too earnestly contemplated. Vandyck and 

 Velasquez would be likely to inspire their students with a truer and 

 purer feeling for the great, the refined, and the beautiful in art, 

 than many of the more popular favourites. 



Three very extraordinary pictures by Platza, in a miniature 

 style, finished with great delicacy and beauty, occupied much of our 

 attention. The first is The Assumption of the Virgin, containing a 

 multitude of figures, representing all manner of unrepresentable 

 things, but designed with infinite ingenuity, and drawn with great 

 accuracy. The other two are classical subjects, apparently Baccha- 

 nalian festivals, most exquisitely arranged and executed ; light and 

 delicate in colour, yet possessing wonderful relief and richness. 

 They are truly cabinet gems. 



Tenier's Alchymist is another of the cabinet treasures. It is a 

 most admirable example of this master's best manner, and, in sub- 

 ject, far preferable to his usual scenes of boors gaming, drinking, &c. 



Vanderneer's Skaiiers absolutely seem skaiting on the canvas, 

 the motion of the figures is so admirably conveyed. Rembrandt's 

 Hagar and Ishmael escaped our notice when alluding to his other 

 works in this collection. It is a beautiful picture, forcible, brilliant, 

 and finely conceived ; the figure of Abraham, witb his hand laid on 

 the boy's head, as if pronouncing the parting benediction, is of a 

 superior character to Rembrandt's patriarchs generally. The Bra- 

 zen Serpent, by Rubens, is a splendid historical composition, the 

 figures smaller than life, but grandly and magnificently grouped. 



One or two fine reliques of that almost superhuman genius Sal- 

 vator Rosa add their wild and strange beauty to the exhibition, and 

 sundry would-be Salvators and Claudes; but there are likewise 

 some real gems of the glorious Italian's creation, making us bless 

 the day he deserted the bakehouse for the studio. The game pieces 

 of Snyders and Rubens are inferior to the productions of the same 

 Jlrm which we have seen here before. In the large picture of dead 

 game, the pathetic and very sentimental expressions of the domes- 

 tics introduced savours somewhat of the ludicrous. In so brief a 

 survey as this, we must unavoidably omit even the mention of many 

 pictures perhaps quite as worthy remark as those we have alluded 

 to ; but want of space must be our sincere apology. Farewell, gen- 

 tle reader ! pardon us for all omissions of works of art, for the sake 

 of science and the Bristol meeting. 



