Strut fs Deliciic Sylvdrum. 383 



We are far from meaning in the least degree to detract from 

 the merit of our Claudes, Ruysdaels, and Hobbimas (on the 

 contrary, we have them in the highest esteem), or to deny the 

 utility of their works in correcting the taste and guiding the 

 execution of modern painters. Nevertheless we would not 

 wish to see these heroes of former days, eminent as they were 

 in their profession, too servilely copied, or too exclusively 

 attended to. Art may be carried too far. It is very possible 

 and very common to study pictures more than nature ; almost, 

 indeed, to the utter exclusion of the latter. Was it not by a 

 close application to the study of nature that the old masters 

 themselves attained to eminence ? The modern aspirant after 

 fame, therefore, should pursue the like course ; and " with 

 all appliances and means to boot," which are fairly to be 

 derived from an inspection of the works of his predecessors, 

 let him go in the first instance to the fountain-head, and study 

 Nature for himself, instead of taking up with her beauties at 

 second hand, and viewing them, as it were, through the eyes 

 of another. We could expatiate on this subject, but our 

 limits warn us to forbear. 



The first number of Delicicje Sylvdrum contains, besides the 

 frontispiece already spoken of, four plates, the full complement 

 of each number, representing, respectively, scenes from Wind- 

 sor, Epping, and Marlborough Forests, and one view near 

 Chepstow. Among these we decidedly give the preference to 

 the genuine forest views. The oak in the Epping plate, with 

 its foreshortened arms, the brilliant spring of water at its foot, 

 and the weeds in the fore-ground, demand our unqualified 

 praise. We have one fault, however, and but one, to find 

 with this beautiful plate. The head of the tree, in the middle 

 of the picture towards the top, is heavy, lumpish, and too 

 unlike foliage ; nor is the outline of it good. We are quite 

 sure that, with a little care, Mr. Strutt could have managed 

 this part of the etching better, since, as we have already 

 remarked, he excels in depicting foliage, and especially the 

 foliage of the oak. The fault complained of is owing, we 

 conceive, to some alteration having been made in the plate, 

 after the design was etched on the copper, of which alteration 

 we fancy we can perceive evident traces. One or two Other 

 instances of a similar kind might be pointed out in some of 

 the other plates ; and we mention the circumstance the rather, 

 not in the spirit of severe criticism, but in the hope that Mr. 

 Strutt will take care to avoid inflicting on his plates the same 

 kind of blemishes in future. The more complete he has his 

 design at the first, and the fewer alterations he makes with the 

 iscraper and burnisher after the acid has once been applied to 



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