FINE ARTS.

Illustrations of the Graphic Art;

EXEMPLIFIED BY SKETCHES FROM THE NATIONAL MUSEUM AT PARIS.

CHARLES I.

the satin of the doublet has a truth of effect which comes up to nature; the play of the lights and shades of the satin is in a perfect gradation from the jutting out of the elbow which receives it in folds, to the right side of the figure where it is lost in shade. In the details of the dress, every thing is a true portrait. The Groom and the Page have all the charac

horse; he is fatigued, he hangs his head, but the chest and forehead mark his qualities.The scenery shews a retired spot on the sea side, and is drawn with grand features, so as to agree with the style of an historic painting.

It is generally allowed by connoisseurs, that the most perfect of Van Dyk's performances as a portrait painter, is his

THIS picture places its original in a situation which, as it is interpreted by the Parisian critic, is, we believe, contrary to historical truth; or at least an emblematical effort only of the painter; for he says, there was a period in the life of Charles I. in which that monarch, pressed by untoward circumstances, went to the sea shore where, in a place agreed upon, heter of their offices; the horse is a fine warwas to have found a vessel in which he intend ed to embark. He arrived after the vessel had sailed, and from the height where he stood he perceived her already at a great distance. In consequence of this, which is the subject of this piece, a painful expression is marked upon his countenance, and a melancholy reigns over it which, however, his native dignity restrains, and keeps from falling into despondence. The whole figure, though in a common dress, is full of nobleness; the attitude is soldierlike; the whole turn of expression truly royal; and is, in short, evidently that of a man accustomed to command; and the whole aspect of the figure shews that all the graces of royalty may be well expressed without the aid of the crown or robes of state. Nothing appears less favourable to the painter than boots, large breeches, a buff jerkin, a sword, and the hat of that period; in fact, Calot with all his skill, if he had been to sketch this dress, would have made it grotesque and ridiculous; whilst Van Dyk with his,has drawn a personage whom no one will ever suppose to be merely a simple cavalier. This picture has been well engraved by Strange. This portrait, continues the critic, is indeed an historical picture, and may be considered as a masterpiece, because it unites in itself all the parts of the art, aud fulfils all the prescribed conditions of interest, sentiment, correctness, and colouring. It is drawn with a firmness which shews that it was struck off at once; all the local colours are thrown in freely, and the light is that of broad day. The hat has an elegant and warlike air;

PRESIDENT RICHARDOT, Which the French critics consider as possessing spirit, look, expression, disposition of the parts, design, colouring, character, and in short, every thing which can stamp a value on a portrait. In this the head has all the sentiment that bespeaks a firm and reflective mind, an austere magistrate, much rectitude, and no deficiency of the milk of human kindness. Here too, the black costume and the furred mantle are quite in a contrasted unison with the Child's head which they thus throw out sufficiently from the canvas, as the effect of his delicate tints would have been quite destroyed by the contrast of the black alone, but which is avoided by the brown tint of the fur coming between. This is, indeed, a masterpiece in the art. The hand which holds the book, is extremely handsome; but that which rests upon the Child's hand is a little too young for the father's head; the head of the Child itself is luminous, brilliant, firmly pencilled, solid, free, and well determined, as if done off hand, as it were. The head too is sprightly, and bears a family likeness; the very eyes speak; the white satin of its dress is

a little soiled,by time perhaps; for in painting,,, looks at a portrait, pays most attention to the the light stuffs always suffer by time, and lose eyes; for this he is too much in the habit of some of their brightness. sacrificing all the other features to their effect, and in the same manner he sacrifices all the rest to the face, and that he effects by lowering the tone of colouring. Yet all this he executes with such a degree of management, that the spectator feels its effect immediately, but is obliged to study some time before he can discover the cause.

The hand, perhaps, is rather unfinished, it looks too much like a sketch. Yet this is not the effect of negligence, but is, in fact, evidently intended to fix the attention more strongly on the principal figure, and to prevent the eye from dwelling too much on what is only introduced as a foil, or contrast. Van Dyk knew well that every one who

POETRY.

ORIGINAL AND SELECT.

UPON THE SUBJECT OF PRAISE.
BY MRS. LIDDIARD.

PRAISE is the summer of the mind,
Whose cheering influence can unbind
The icy bonds of grief and care-
Then sure the Bard deserves his share!
All deaths, undaunted, warriors dare,
In hopes that Fame their tomb shall rear;
That her bright incense still may burn
Unquenched o'er the Soldier's urn.
For Praise, the Sailor braves the maia,
All difficulties dangers-pain-
The cannon's blast-the mountain wave,
Oft doom'd to shrine the hero's grave;
Happy he sinks-contented dies!
Sure Praise shall grace his obsequies!
The learn'd-the sage-the grave divine-
All in the warm pursuit combine :-
But Poets live upon its breath;
Withhold it-'tis the Poet's death!

THE OAK AND THE REED.

FROM LA FONTAINE,

TWAS thus the Oak address'd the Reed-
Nature to you's unjust,

For the least bird that skims the mead
Can press you to the dust:

The zephyrs that scarce curl the wave,
With ease can bend you down;
While mountain-like the storm I brave,
Nor heed of time the frown:
Had chance ordain'd you to be born
Under my shelt'ring care,

You would not then have had to mourn,
The ills you now must bear :

But to the wat'ry bound confined
Of Eolus' bleak domain;
There, left the sport of every wind,
Of Fate you must complain.
The Reed replied-Your pity, friend,
Is proof of your good-will;
True, to the threat'ning blast I bend,
But feel, or fear, no ill:

Harmless round you the storm has howl'd,
But let us wait th' event.

When, as he spoke, fierce Boreas scowl'd,
And forth his demons sent:

The Oak, the blast unbending bore,
The Reed confess'd its sway-
Again the wind collecting roar,
And mightier burst away.

Then he, whose forehead boasting rose
And seem'd t' insult the skies,

Whose deep-set foot with death repos'd→→→
Prone in the dust he lies.

Oh! may I with my charming maid,
Find out some secret cell:
There, of pre-eminence afraid,
With love and virtue dwell.

FRIENDSHIP.

BY THE LATE REV. C. J. SELWYN.
FRIENDSHIP! peculiar boon of Heav'n,
The noble mind's delight and pride;
To men and angels only given,

To all the lower world deny'd.
While love, unknown among the blest,
Parent of thousand wild desires,
The savage and the buman breast

Torments alike with raging fires.