jarulate Mr. Hlutandine, in his tor growing in my humble judgment - 't is the best and shortpala. "My titi mekel yet to be his wife?"

est way. Half a dozen words, and there an email Katy metiwik hie meaning,

Whereas we may go on fending and fencing, ach "If verts have funt coinbinel to insult me," she proving and doubting, for a week without it. Te amild, buchtily, and if I understand your message, | better so," concluded the honest squire, as, with a it w94 an honor his father did not disdain."

slightly heightened color, he took a large lig "118 propwaal was in earnest, my poor child," screen that leaned against the wall, and, opening to gyil tha ajire, dividel between anger and sorrow. drew it across the room in such a manner as to co An hin" ball' whispered the girl.

ceal a door that opened upon a side-staircase." "A lie!" shouted the pure. A villanous de At that door he listened for a moment. cipit! the coinmon pretext of a libertine, whose " They are coming!” other ara have failer, Alne! that I should live to The next moment Mr. and Mrs. Taffer, with ear it of my fun! Child, child! he had no thought Katy, made their appearance under the guidance of marriage. Lynve him the opportunity of break- of a trusty old servant of the squire's, who with ing it to me. I spoke with leniency -- nay, with drew. approbation of a similar union once contracted The two elder visitors spoke in whispers. an. in me family. The meerolit down. No, he is a walked on tiptoe, like a pair of respectable marit!

anal the first thank Heaven, in my line. There burglars. Mr. Taffey had with difficulty been pro ja no faint upon the honor of my ancestors; and the vailed upon not to leave his boots at the foot of the 1 Pe and Varsonne, it loobies, are not black-stairs. Katy followed, with a face and air outra giants. How him, mint porr Katy."

Jly calm and composed enough, but a deadlr put The mottop-girl took him un unerpectedly, succeeded to the blash with which she had acknor's Making one ion trands him, she looked him once edged the squire's greeting, and she found here help atralily in the face.

compelled to accept one of the chairs he had be mlinger informel 1717, last night, that he had placed for her mother and herself. There were no in ration of maling me his wifi?"

forced herself to sit, with a cold judicial air, waisne vistineilt peat e rlaration he had ing for her doom. marle to me in the morning, that nothing should in- The squire had hardlr seated bimself in this a worow him to ment beneath his station, - my consent customed place, wben Rochford, summoned by the

old serrant made his appearance. ' ye omni pence! marinur Katr ! * Sit down, Rochford," said his father, in a co

Trilatort tone (ar last two interviens bare e * Hardantina" permet the girl raising her had results is satisfactory as I could desire e que pueden', with a light in them he had not seen! The third time proverbindlr lockt, so hefy", l la ve this init porte" the rant man sma - at bere to koor * ! won h mr word! Bat go on 11 " percin."

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The smith passed his hand through his iron-gray | tery in all that regards beauty, las lately republocks.

lished in a collected form his various essays in art" Well, squire, - begging pardon,” he said, - criticism made during the last eighteen years. He " you knows I'm a houtspoken man, and, since you entitles his volume Fine Art, chiefly contemporary, puts it to us wot you mought do, my missis thinks, and as its principal interest consists in that portion and so do I, and we've been all a-thinking - on'y relating to præ-Raphaelitism, the work in question we did n't like for to be troublesome — that you'd will form a convenient text for our discussion of the better try the screen again, and just see what t' | subject. other 'll say !"

Although it is intended that this article should be “ T other !” ejaculated the squire.

confined for the most part to Mr. Rossetti's book, it There was no time for further explanation, nor is impossible to avoid making some allusion to the any need to replace the screen. Gerald, resolved to writings of Mr. Ruskin. The success of this artconfess all to his father, entered the study at that critic was obtained solely by the elegance of his moment for that very purpose.

language, and by a reliance upon the profound igWords were superiluous then. The eyes, the norance of all concerning art prevailing among the cheeks of the young lovers told everything, every- public in general, and among literary men in parthing that was essential to the squire's enlighten- ticular. The latter were not sufficiently well ment. It was left for after-explanation how the grounded in the true and simple principles of art incidental borrowing of a light-brown paletôt, by a – although they might have had a smattering of gentleman who generally sported a dark one, had them — to detect the fallacies, exaggeration, and led to such serious complications and important dis- nonsense that were so cleverly disguised under so coveries.

deceptive and fascinating a dress. To their eyes The squire, frank and generous as he was quick the delusion was complete, and their praise of the and impulsive, accepted a solution far more apt and writer as the first art-critic in the world was seemlv than he had, for a brief space, had in con- equalled only by the completeness of the delusion. templation, and heartily lent himself to the fulfil. Such was the bewitching nature of the effect, that ment of his own prophecy. There was a marriage for some time after the publication of Mr. Ruskin's at Llbwyddcoed ; and, if it was not a merry one, we, work, the periodical press teemed with ridiculous who were among the bidden, know not what mirth and abortive attempts at writing pure Ruskinese. means. Patrician and plebeian guests united on Nature had not, however, supplied those writers this occasion in such harmony, and with such a with that peculiar kink or twist in the brain which community of good breeding, that it was almost im so strikingly distinguished the mental organization possible to say which was which. It was, however, of their prototype. In his writings will be found noticeable, that neither my Lord Leatherhead nor strangely united most unmitigated nonsense with the Honorable Mr. Castleton was present.

the most refined diction, and all direct attempts to Mr. Rochford, though gay and condescending at rival him were slowly but necessarily abandoned. the festivity, had not, at that period, wholly forgiv- His pernicious influence, however, remains. The en his brother's choice. It was remarked that he domain of art has been taken possession of by the never again wore that fawn-colored paletôt which mere literary man; a fact which has led to its being had indirectly contributed to the wooing of Katy, treated as a page and column spinning commodity, and shortly after presented it to his valet. It is to — as a "pot boiler," in fact. Hence the plain and be presumed, however, that he has got over the simple principles of art have been spun out into prejudices he was born with,” being now engaged such fine long-drawn threads, so twisted, stretched, to a very amiable girl, the only daughter and heir and wound about, that it is unprofitable, if not peress of David Black Dymond, Esq., the well-known fectly useless, to attempt to disentangle so complimillionnaire, who commenced his useful and pros-cated and maze-like a skein. This is the result of perous career as a common miner at half a crown a men trained only to literature applying their stockday.

in-trade to subjects they do not fundamentally unSome words caught our ear, as we wandered derstand. But even those who do, both theoretithrough the marriage throng, spoken by two gen-cally and practically, understand legitimate art, tlemen in very holiday garments, who were half have been in too many instances affected by this concealed by a coluinn in the hall. They were Mr. pernicious influence, — for they either feel obliged, Apreece and Mr. Taffey.

or are perhaps too well inclined to sacrifice clear, Nunc est bibendum," remarked the former, and brief, and intelligible writing in support of art to there was a clinking of glasses, as in good fellow- the ambition of obtaining a literary reputation for

themselves. Thus the artist is very often con« Werry much so," returned Mr. Taffey, “if by strained to be contented with the length rather bend 'em means be civil.' If all great folks like than the soundness of the criticism, and he must be squire, would bend 'em a little more, it would be clever indeed if he can extract from a cloud of better going for all."

words and a mnist of meaning any information, technical or otherwise, likely to be either of advantage

to bimself, or instructive to the publie — for the CONCERNING PRÆ-RAPHAELITISM.

general reader, becoming lost in the meshes of ITS ART, LITERATURE, AND PROFESSORS.

rigmarole, lays down his daily paper or monthly This subject, which at one time occupied public magazine, with a faint glimmering that he has read attention to a degree very unusual in questions of something mightily fine, with a vague impression art, has recently cropped up again; and though that art is a mystery, and with an unpleasant susnow shorn of much that rendered its primitive va- picion that, at any rate, it is far above his own ungaries so amusing, it yet bids fair to struggle as tutored comprehension. grotesquely for a second existence in literature, as As a proof of the now established abuse of words, it once did in actual painting. Mr. W. M. Rossetti, as regards circumlocution employed for the purpose the arch-priest of this more than Eleusinian mys- of page and column spinning, and in this instance

may be added, for the purpose of theory vamping, one could be met with to sit for his portrait whes take the present book by Mr. Rossetti. It con- quite wide awake. It may here be stated that Ms. sists of nearly four hundred pages, and it may be Rossetti is liberal in the latitude he allows a painter, safely affirmed that persons well acquainted with when compared with Mr. Ruskin, as the latter dos art, and well read in the best writers on art, will not permit the exercise of choice in anything, for de find it almost impossible to obtain from it any exact peremptorily says, “ Select nothing," - therefore D definition of pra-Raphaelitism, because the defini- artist painting a picture of “ Cupid lost in a Forest tions, although numerous, are so expanded into must take the first boy he may meet, whether sbar. words, that the only resting-place seems to be the or tall in stature — seven or fourteen years a adoption of a quotation from M. Delacroix, the age — bullet-headed, suggestive of jail or pincelebrated French painter, which is placed as a ple-headed, indicative of idiotcy. So, too, for the hending to the chapter entitled “ Præ-Raphaelitism." forest, no wandering about or selection can be He says: “ I am not the adversary of that which is allowed. “ Select nothing," – therefore the firs now being done in English painting. I have, in part of the forest arrived at must be accepted. ap: fact, been struck with the prodigious conscientious- then the whole must be elaborated with all the ness which these people carry even into subjects of "prodigious conscientiousness” already describe imagination. It seems, indeed, they in returning . And this, then, really is præ- Rapbaelitisme to an excessive rendering of detail, they are in paths Yes, as expounded by its lawgivers, the Rossette more suited to their genius than when they imitate and Ruskins. A glance at the same subjeet, a the Italian painters, and above all the French col-painted according to the practice of the Dark Ages orists." There are few besides rabid præ-Raphaelites of art, before those two flaring links of fine-art who will thank M. Delacroix for his left-handed literature dazzled the weak eyes of the world, aki compliment. However, he has made their creed threw a halo of glors round newly born nonsense clear as far as he goes; but the question still re- will tend, it is hoped, to make all that bas just been mains as to degree. Without endeavoring to dis- said more clear to the general reader. To beon cover that at present, it mar be well to test the more with Cupid, that figure would be drawn with all evident principles adopted by præ-Raphaelites. the grace in action and the elegance in form the Both the principles and the practice will be best could be conceived by the artist; reference woali illustrated by supposing a subject. Let it be be had to the best remains of the antique: 0 "Capid lost in a Forest." If the painter cannot finally the whole would be corrected from mature succeed in catching hive Copiil, wings and all, to prevent the figure from being idealized beyond he must search among the chubby children in his the possible and the real; for unless those i r neighborhood for a boy the nearest in resemblance tant essentials be preserved. boman impalse to the Cupid of his imagination. Having succeeded not sympathize with the efforts and intentions de in that, he has next to search for a forest and to the artist. As for the forms of the trees in the ramble abont until he finds that part of it in which forest, the foliage and the vegetation generally, he may think a Cupid wonld be most in danger of and the pervading color, these would all be Tanel losing his war lle must then bring the chubby and subordinated to an uniform effect, and to the hoy of his selection and place him in the chosen relief and enhancement of the figure, for the perpart of the forest le now sits dorn to exercise 'pove of presenting to the ere and mind of the his "prodigious conscientiousness” of detail, the beholder a well-focussed, intelligible, and perfect admiration of the great French pa ater, and to whole. paint the fact hetore him exact as he sees it.! Du Fresnor, as translated br Mason, sars:neither more nor lexs, acealing to the school of

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For Nature tae arbitres Arz." bound to record the marks that remain of those This last is the style of art which, Mr. Rossett infantine disenses on hi anvas : but should his 'sers, prar-Rapbae.itism has pat daw. Has ? model Capid display a inlener to # watery beard. That remains to be seen. But it mast be spossess a pair o bandy lan or an incipient state inirted that the time chosen for making the expeririekets. 8079 his card he painted. The men: g.ve it every prospect of success Toure la painter has made his h eo: the nearest approach been nothing very striking in the previous exte to his ider that he 91. apr mus abide by tions during a few rears previoNT. The boosit; for, sars Vir. Rati, * nform, disguise, im- edire : art among the peonie was confine tv3 prore, he mar not." With respect to the

f i ere, and even the were quite unable to withstan again.be is honni to paint wat be seen He me the norrly and exritement canse] her the sudde i no: deviat * from the fact before hin:“ Imnei annarance of the pre-Raphatlite mateIDent; test once mon by his “pro hron consciention " are all the President of the Royal Aradent he musi raint 7, tree, every hranh & tree that day ateareci to permit nur, seemed to e ere lentevery pred, and it stem o pe r ace, the exhibition o: puctures Tinted by rape weet, eremy tutay, and each hinde o* TE COR. **10t and it di antagonNn to the tungTRA -- in short, paint prepariert be seen in the Arrem ove trein b presiurd. with the ntmis diepe ang lahat. Erer: sher: Ardemr, be it rememberesitahisard under mal a wese het sienio among the weeds ber nam. On: orir 11- the unprovement of a hewames a nd the select He has been sea, ani ni alam ter tot dicsor: o: a smonr the pondo mu intel Is the title an mai mi? . sta: But ther-v, thens the rat "_thu shilims

berinted, the are most any. Mr. Roxett The shining Tab. & the door or the public tra for instantin sine and he knowing the retares exhibited on the walls of the Toral And p erta d alt a catching were ssleen. Purante it a magner denounced in the lecten would recommend * residence in the forest unt. rooms of that institadion zot only in the same

rear, but which had been annually condemned in academical honors. The præ-Raphaelite movement principle from the first year the Royal Academy having made Mr. Millais the most popular painter ame into existence, were numerous. In theatrical of the day, he, according to the old practice, speedhrase, the præ-Raphaelite pictures were “a regular ily became a Royal Academician. It thus gave Iraw." The fierce discussion which arose in the him one of the chairs in the council-room of the press kept up the popular excitement, and the in- | Academy, and there he remains, to indicate the reasing receipts were too tempting. It was not, height to which the momentary impulse of præperhaps, that the academicians loved art less, but Raphaelite art had reached, as weeds of the Thames hey loved the shillings more.

are sometimes left on its shore, and serve to mark The mischief did not stop here. It happened at the extent to which an extraordinary tide at the about this period that wealthy and prosperous buy- | full of the moon has risen. The tide, however, that ers resident in the manufacturing districts having bore him over the heads of more experienced and become tired of purchasing by the vanful or cart- more legitimate painters, placed him upon an emiload, the modern Raphaels, Rembrandts, Ruys- nence from which he has been enabled to take a daels, and Poussins with which as a “collection of general survey of art, and this seems to have induced old masters ” they occasionally furnished their large him to retrace his steps as quietly as possible, and houses from top to bottom in a few hours, were to return by slow degrees to the style in which he induced to turn their attention to pictures by living commenced, namely, that of the Italian School. painters, the authenticity of whose works could not On this desertion from the ranks, Mr. Rossetti, apbe doubted, which were publicly exhibited under parently with tears in his eyes, says: “It was the assumed sanction and approval of the Royal expected that præ-Raphaelite pictures would conAcademy, and which had besides the advantage of|tinue to be painted. This has not come to pass. novelty. They accordingly became liberal buyers of Partly, no doubt, through the natural course of the works produced by the new school of painters. facts" (whatever that may mean], "partly through These works, they were assured by dealers and a the modifications, we will not say change, of style part of the press, were the genuine articles, — good, of the most popular præ-Raphaelite, Mr. Millais, solid, hard work; no poetry, no imagination, and and partly through the influx of new determining such unmeaning and flimsy stuff, but works worthy conditions” (whatever that may mean], " especialof the steam-loom or spinning-jenny, - works that ly the effect of foreign schools and Mr. Leighton's would bear inspection through a magnifying-glass, style, præ- Raphaelitism Aagged in its influence

- works honestly and “conscientiously" done to towards the production of what are called præwithstand wind and rain, if required. There was Raphaelite pictures, just at the time it had virtually no “scamping” about these works: they were sub-| won the day.” Poor Mr. Rossetti ! It was a lamstantially painted from centre to sides, all alike, entable state of things; but be consoled, it is not and were equal in durability to the labors of the an isolated case. A similar disappointment hapmost thorough-going of house-painters; and, above pened to the gentleman who was training his horse all, these works, so prodigious is conscientiousness, to live without food, and just as the experiment had were to be a good and profitable irtvestment of succeeded up to the point when the horse actually capital.

refused corn, the contrary-conditioned beast, no But what says Mr. Rossetti now? He admits doubt to annoy his master, died. plainly that præ-Raphaelitism in its original form- But if Mr. Millais is lost to the Rossetti-ans, the form or style in which those pictures were they must be called so in future, for it will not be painted - has entirely failed, and that the pictures denied that præ-Raphaelitism is as dead as the themselves were mere school-boy attempts to pre- horse, — what has the Academy gained in exchange pare students for better things; indeed, so complete for their diploma ? Well, fairly considered, they does he admit the failure, that although the pictures have gained an excellent designer for monthly maghave been stepping-stones to an improvement, as azines, - a man who can paint a little girl in a he says, he does not recommend that the experi- pew at church well; who can paint a little girl in ment should be repeated by the rising generation bed well; who can paint the bedstead not quite so of artists.

well; but who, judging from his historical pictures That being so, the questions may fairly be put, - exhibited at the Royal Academy in the last two What is now the use of such productions ? what is years, cannot paint important compositions of that now the worth of them ? and what is their value as class well. Indeed, it must be confessed that, for a investments of capital? The answers to the ques-painter of his newly acquired dignity, they were tions will be found in their ultimate fate. Their failures. And this, abating Mr. Millais's popularity, fate, in all probability, will be their removal from is honestly and truly all that the Royal Academy the drawing-room to the bedroom, from the bed has got in exchange for their “R. A." Still, it is room to the attic, and from thence to the cockloft, possible that the weight of responsibility thrown where they will most likely be spoken of hereafter upon him by his newly acquired promotion may as “fads of the poor old governors many years ago." induce him to work up to the height of his position ; The sooner they commence their ascension towards for there are those who never believed that Mr. the tiles the better, and the præ-Raphaelite litera- Millais was so sincere a convert to præ-Raphaelitism ture of Messrs. Ruskin, Rossetti, and others of a sim- as he no doubt fancied himself to be, - the vagailar kind, may at the same time take a downward ries of the artistic mind being proverbial. The direction to the housemaid's waste-paper cupboard, grounds for disbelief in his conversion were princiand prove truly useful in lighting the fires of the pally found in the inequality of his execution, and establishment.

in the occasionally opaque and clumsy mode of colBesides exhibiting pictures in direct opposition to oring in some parts of his pictures. Not to dwell the theory and practice inculcated in the schools of on this part of the subject, but merely to illustrate the Royal Academy, the academicians had a babit what is meant, compare “ Peace Concluded," or of being more frequently guided by the popularity “ The Ransom,” — complained of even by Mr. Rosof a painter than by his merits, in selecting him for setti, — with the firm, clear coloring and clever pencilling in the little picture of “ Charlie is my Dar- schools of Italy, Germany, and Belgium, and p ling," and the inequalities of the execution are suffi- ticularly in the ateliers of Paris. The criticistas ciently evident.

French painters on English pictures was that the The last, it must be admitted, was a small single could be “blown away," suggesting the necessity figure, and not a composition approaching the histor- a much more solid style of execution. ical in subject; and if Mr. Millais's pictures be com- The influence of the foreign schools and galla pared also with his illustrations of publications, it will ies had made itself felt even at the Royal Acade be found in the latter that the heads of the females are at least thirty years before the præ-Raphaela idealized, the heads of the men perfectly modern in movement could have been thought of. An RA character, and all very nicely drawn. The doubts of that period, on borrowing a piece of china i thus suggested as to his entire conversion to præ- paint from, said: “ Times are changed; we na Raphaelitism were more confirmed than shaken by have the real thing now; we have come to the an early work from his pencil exhibited recently in garth's sign painter, who could not paint a botul the picture gallery at the Crystal Palace. It was unless he had one before him." Painting, there broad in execution, and deep-toned in color.

no doubt, was gradually and steadily approacha Lastly, the sudden appearance of præ-Raphaelit- a style both careful and sufficient; the rules of a ism upon the picture-world is assumed by Mr. Ros- were valued and respected ; and the pablie tasi setti to have been desirable for the regeneration of would have advanced in the same healthy and sa British art. That assumption, however, like many sible manner, had not the præ-Raphaelite more others he ventures upon, is not well supported by ment, by shaking the belief of many rising arts fact; because several years before præ-Raphaelitism in established authority, by distracting and excitin was known, the necessary change had commenced. the public mind with novelty and eccentricity, ax At the period here alluded to, the exhibitions at by giving to a few pretenders position and publicit Somerset House, with very few exceptions, had be- to the disadvantage of better painting, obstructe come exceedingly poor in novelty, though plentifully the advancement of legitimate art to so great a de sapplied with "effects,” and “first ideas for in-gree that it will probably continue to hinder in tended pictures," never intended to be painted, but progress for some few years to come. sent in merely to keep the names of the senders in the Royal Academy catalogue. So much was this the practice that, during the

TRACES OF THE GIANTS. heat of the controversy excited by the præ-Raphael. It is quite a mistake to suppose that the giants de ite incursion, the word “ effects” was considered by antiquity were abnormal phenomena, like * tot them a valuable one to be used in derision of the Norfolk Giant" and other celebrities of our om old system, and may be said to have been inscribed time; they were veritable races of men of a stue on their banners. It was potent because it was ure far exceeding even the Patagonians of South true. But its truth had been felt and admitted America. We learned from the Scriptures that long before that time. The fact is, that the people giants lived before the flood : these are probably of this country had, during many years, been in the the Titans of tradition, whose daring impiety pro habit of visiting foreign picture galleries. They voked the Deluge. After the flood we find giga had become acquainted with the finish of the Bel- tic races - the Emim, Anakim, or Rephaimi gians, the smoothness of the Germans, and the com- habiting Palestine; and therefore we may inte pleteness of the French. They saw more correct either that one of the wives of Noah's sons was a drawing everywhere, and a more systematic train- gigantic stature, or that, coming of this race, som ing in the productions by the schools of each of of the children subsequently reverted to it, in con those countries, than they could see at home. The formity with a well-known law of nature. What result was that the old “ broad effects” and pre-ever doubt may exist upon the subject of the ante tended “ first ideas" were laughed at and repudi diluvian giants, none whatever can possibly exis ated. But in explanation, and in excuse for that regarding these Anakim, or sons of Onk, for fe ani practice, it is right to say that there were searcely expressly told that the Israelites * felt as grasshop any buyers in those days. There being no demand, pers before them," and the height of one of their there was no supply. In fact modern pictures at kings is incidentally noticed. that time possessed no average value. A barely re-! These giants lived along the mountain chains a munerative price was considered enormous, and a Canaan, ruling an inferior race known as Amorites bad investment, because, as it was constantly said, They had military outposts in the valleys, and dom * There's no knowing how many more pictures the inated over the rich pastoral plains beyond Jordan, artist may live to paint." The rage for the old mas especially Bashan, in one part of which — Argobters was dying away, but the idea that scarcity gave sixty great cities fenced with high walls, gates, value still remained actively in force in the minds and bars, besides anwalled towns à great many* of the very few persous disposed to venture on buy- were taken by Jair, and are still to be seen in ruins. ing a modern picture.

From these and other facts it will readily be seen It was the institution of the Art Union of Lon- that their intellectual capacities were fully equal to don that first established an average price or mar their physical development, and a still further prooi ketable value for pictures by living artists; but of this is that one of their capitals was called bir before that lottery was legalized, the few who, after jath-Sepher or " city of arcbires." Joshua captured travelling abroad, did buy, insisted upon finish. and barnt these in his thind campaign. It will be The change from the old slovenly method was being seen how eminently appropriate to this great pe erfected in a regular and permanent manner. As toral race was the epithet - Shepherd Kings, and far back as the great peace which restored the there seems no doubt that these are the - Örksos Bourbons to the throne of France, our artists had who conquered Egypt, and are commemoratei upa spread themselves over the continent for the pur the walls of the old temple of Karnak. pose of study. During all those years, down to The three celebrated capitals of the giants were 1848–49, they had been working hard in the Ashtaroth-Karnaim, Kirjath-Sepher, and Kirjat