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    over a Christ and St . John , who carry reed crucifixes and wear sashes C onfessedly the subject is not well treated in the foreign schools , but the severer test of Raphael and Andrea del Sarto confronts it in the gallery of Old Masters . " Judith with the head of Holophernes , " by Thomas , of Brussels , is freshly and beautifully rendered . The widow of Manasses is more a noble Hungarian lady than a Hebrew , dark haired and majestic , not decked with the jewels put on to tempt the Assyrian general . She is drawn to her full commanding stature , the face upturned ; a consciousness of the courageous deed which has rescued her people from the tyrant its leading expression ; an ejaculation of thankful prayer on her lips . Her

    form still and untroubled by woman's fears or weakness . All the fear concentrated in her waiting woman , who receives the ghastly trophy of liberation for Bethtdia in a portion of her garment with a panic of nervousness , shrinking and trembling at the grand powerful head which Judith extends , yet sustaining it by the hair . Her white robe exposed by the action of resting the sword , the steel glistening through the stain of the blood , yet not offensively dripping with it , the hilt concealed in the rich crimson mantle falling on her arm . Each exalts the other into stronger relief , but the repose of the picture is a little disturbed by the too heightened contrast between the startled maid and the stern serenity of the Jewish heroine . ,

    In the pursuit of effective scenes , night appears to claim popularity : Vanhombergen ' s " Moonlight" embodies a marine view of rare beauty . The sky is lit with a large moon reflected in the calm sea enclosed by dark rocks , and rippling waves quivering in silver light , the sandy beach stretching round in an annular bar , and the waves plashing into a curl of white foam on the shore . There are generally two classes of cultivated admirers of art , the connoisseur who requires less from the imagination , and those who view effects through the medium of fancy . With these pictures will naturally obtain different reputations . Charles Ischaggeny ' s " Harvest Field , " is

    a painting for enthusiasts , from the graceful incidents , the perfect handling and aerial command of the atmosphere , the sunshine and shadow . Artists and connoisseurs will make a longer pause before his " Plough , " although the field furrows , the delicately painted sky , the yoked horses , and the plough on which the labourer has hung his red coat , his dog resting on the turf , and a few wild flowers peeping through tlie grass form the composition . No bright sunshine or varied colour , and yet there is not a more truthful or perfect piece of painting in the collection . - '

    The wonderful power of Achenbach ' s " Pier of Ostend during a Storm " appeals to every mind , successfully , but his " Pantaleone in the Island of Sicily" likewise comes into the class which , wanting the character of life and motion , wins less applause . Pantaleone still in the purple sunset , the evening clouds hovering near ; on the mountain the mournful cypress trees , a few faint figures passing beneath them , and the glow resting on the half-darkened city : does not strike the crowd in any degree commensurate with its beauty , but is very lovely in the estimation of the student . Some things are sought in art , difficult and well nigh impossible , which these Germans have , nevertheless , supplied ; expression of mixed emotion is accomplished in the " Gretchen in

    Kerker , of Cornelius Bezas . Mad , murmuring snatches of song from her wandering brain ; stealing into her face the partial recognition of Faust , her returning We , her shrinkingdreadof the long fiend-like form of the spectral vision , ( his short drapery , of a mystic shadowy blue , terminating each way with red , ) overpowering her weak faculties . The quick turn of the head , the piteous question , entreaty , and conviction , in the light flickering wildly through her eyes , and terror passing , in a shiver , over her form . - Faust helpless to retrieve his own safety , in the sight of the ruin he had made , and reckless of the danger he risks , his face pale and shrunken , from the unquenched thirst of intellect , the terrible throes of remorse in las countenance . Mephistopheles , careless of their agony , striding in , with his warning of fleeting time , as though a soul is nought to the " chilling breeze" on his horses , and anxiety to rescue his prey hardly changes the haggard sneer . Rotzch has not achieved this .

    Do Keyser ' s picture is altogether different in its equal mastery of expression . Sufferance , not passion , is the object . St . Elizabeth is secondary to the afflicted group round which the story gathers . The poor invalid is borne on a litter , to tho porch of the Wartburg Castle ; her shoulders are sustained upon the knees of the ragged boy behind her ; the mitch lias slipped from her nerveless fingers , one hand hanging powere . ssly over the kneo which supports her , —the other is laid tenderly upon ¦ lie body of the dying child , on her lap : about its head a cloth , and a few 1 'y . tfs upon tho pulscloss form . Much sufferinc lias attenuated tho

    poor ™ j ° > scarce hidden by tho thin covering , falling sadly around her ; a injble sniilo flits over tho gentle patient face , as tho Landgravine gives a piece of money to the healthy , garrulous , wrinkled old woman , who has oifl tho talc which needed no deeper eloquence than the languid forehead jina watormesB of the weak cyos , to apeak hor Borrow . Blooming in all MK 5 loyouaneHH of childhood one little child , untouched by sickness , stands " ¦ 'Ride her mother , and looks up at the saint , shyly and wondering . Most ; "fixfcoroHH is tho command of the texture and colour of the skin , the 'Wanting flow of tho blood , the transitory traits of illness in the two wick hfo

    women hardly lurking in the oxtoyided form of the dying child , and ,, wh » eh has sunk its heavy swollen head on-its mother's bosom . Even ¦ »> repulsive men , who complete tho beseeching crowd aro given with ' < " <> name mibtle mastery . ¦ fn tho Dublin Exhibition practical art ho mingles with mHthotical , that « ro is no strungeneHU in tho transition . Decorative art is not extensively much us admirably represented . Paper-hanging aro principally of (' Hubduod colours which would bo chosen for walls intended for " pic-NofVrn d 081 B nB chmto i no barbarisms of pnlo blue glossy satin , but HeUtU \ F ' ?> dullcd I ? 11080 "/ violefc llnd ff ™ y , gold and silver running fll 10 Uft th , bovoIIb . J iho hottor desig « a aro French , executed in 'Maud and Ireland . Joffrey and Allen , of London , oxhibifc tho bost

    collection , which is a compilation of well adapted designs ; the enclosing borders are ancient Greek friezes , which are not incongruous with bunches of wild flowers and mosaic combinations . Etruscan friezes , with ornamental painting , in imitation of wood and marble , and carvings after Gibbons , from the establishment of Mr . Boylan , of . Dublin , equal the English manufacture . In tasteful arrangement Messrs . Boyle and Hugh , of Glasgow , have great merit , with novel design , although not altogether new in application . The section of a room is exampled in mural decoration , the fire-place , doors at each side , and panels of flowers , covered with glass , terminating in oval moulding , all managed with close attention to harmonious effect .

    As subordinate to art , the carpets , whether in Turkey , velvet , tapestry , Brussels , Axminster , or Irish , are skilfully composed of subdued colours , interwoven with uniformity in arabesques and mosaics rather than flowers . This is a marked improvement . It is uncomfortable to tread , even lightly , on the close imitation of horticultural beauty which recent fashions strewed on our floors , spreading imaginary destruction at every step . Not content with this , the same fashion has put us to the pain of committing insect murder by walking over butterflies , Happily a taste more in accord with place and appropriateness is arising . Upholsterers have discovered that furniture requires a ground of softly blended , cool colours * to give due effect , and that too distinct patterns offend the eye . ] NTo one would carpet a picture gallery with the brightest pelergoniums , tulips , and the Victoria Uegia , but ladies still demand brilliant ornamentation for their drawing-room flowers , and abundant specimens of florid carpets are hung like arras in the galleries of the Industrial Palace .

    The curtain hangings are by no means so judicious ; elaborate commonplace outnumbers chaste simplicity . One suit of amber satin is upheld by infantine supporters standing on white and gold pier brackets , the modeller having bestowed intense effort on making the strain on their nude forms from the burthen of the silk cords as perceptible as possible , enlisting our philanthropy on behalf of the poor little innocents , who need spirited public interference to ameliorate their condition . At the top of this extraordinary composition modish Cupids , veiled in lace by sylphs , support the drapery depending from the cornice . There may be

    found people who will commend this absurd waste of ingenuity , but no gorgeousness of effect can atone for want of fitness in the design to the purpose to which it is applied , . Needle-work in pole-screens and couches betray the usual fatuity of feminine invention ; a graceful drooping inclination on the part of worked barley is conspicuous , with a tendency to construct a new system of ornithology in chenille . The chairs of raised work are but pictures , —the weight of' a lap-dog would spoil them . Some honourable exceptions there are of a close attention to nature , and by the use of more obedient materials , artistic excellence is

    ensured . The Irish woods , the richly veined arbutus , which , though but a shrub in England , grows to trees of great size in Killarney , and readily polished yew , are extensively applied to the better class of furniture . The yew is more especially devoted to carving , and the romance of Irish history is much in esteem . One . side-board of circular form is illustrated with the punishment of inhospitality . The marine portion , where Granuawaile rows to her barge with the heir of Howth , is finely executed , but the Earl and Countess , in despairing pursuit ( the Abbey bells which rang tho alarm are in the Antiquities Court ) , have little capability for volition , and the unity of the story is destroyed by the introduction of classic

    satyrs hiding in vines at tho ends . A sideboard in native oak , exhibited by Messrs . Fry , of Dublin , is carved , and not too elaborately carved , with emblems of country sports , dead game , and fish . One in mahogany by Fairelough , of Liverpool is illustrated with the seasons , a boars ' head forming the centre decoration ; on the front rail , strung on a whip , aro a hunting-horn , fox ' s brush , and wine-flask , the consoles carved with fish , game , and fruit . These very appropriate dining-room designs are admirably executed . Some ecclesiastical thrones of the Louis Quatorze style are meritorious , and specimens by a self-taught peasant show at wild genius and untamed extravagance in combining as many thronging , horrors as Leonardo da Vinci ' s shield .

    Library book-cases aro of useful descriptions , but receive tho title of Elizabethan , on tho sole claim of the heads of Shakespere , and " large brow'd Verulam , " carved in alto relief . Library chairs , principally in tho prevailing fashion of Irish yew , faulty in no respect but in being luxuriously inimical to study . The povillion furnished for the Queen with blue divan couches , mirrors , thrones , cabinets , and consoles for flowers , is , front arrangement , the department moat favourable to Irish taste . But in the Furniture Court , although imported articles may excel in the skilful us » of the tools , the home designs are novel , chaste , and national . In the * centro-couchea for the drawing-room , called " Marchioness , " composed of two sofas , the ends two faiiteuils , one manufactured in Dublin , has a centre bracket , where a glass vase of flowers adds considerable grace ot effect . Tliis " marchioness" is rosewood carved , and gold-coloured ailk damask . Plato-gla . su is not yet a branch of Irish manufacturing industry . Mirrors ol

    magnificent dimensions have been largely imported . The frames are in most instances the work of Dublin artisans , and tho glass is in some applied as a ground for gill , tracery ; the sur / aco of tho mirrors covered with fanciful carvings . Squirrels eating nuts , owls blinking under foliage , monkeys at mischievous frolics in the bronchos , and boars walking stately through tho trees . Simply wrought and not new designs aurrottnd the largo mirrors , tho ordinary eagles and swooping vultures surmounting fruit and vines . It is singular that where much lean demand exists for picture frames than elsewhere , Mio Irish artisans should have brought them to surpassing excellence . Whether simple or elaborate they areequally creditable , none possessing the startling brightness of part silvet part gold , bo prevalent where a more refined tasto . should prevail , and frequently , us at Windsor Castlo , tho frames aro thrust moro conspicuously on tho observation than tho pictures they cnoloflo , and to whioJt they ought to be subordinate . A . B . C .

    Untitled Article

    September 24 , 1853 . ] THE LEADER . 033

• Citation
  • Leader (1850-1860), Sept. 24, 1853, page 933, in the Nineteenth-Century Serials Edition (2008; 2018) ncse-os.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct2005/page/21/