FINE ARTS.
Reading edition
(To the Editor of the Mirror.)
Sir,—I have made repeated visits this season to the exhibition of the works of the old masters at the British Institution, for the express purpose of presenting you with a few remarks on some of the most excellent paintings. As I have strictly adhered to the notes which I made at the institution, the accuracy of the subjoined may be depended upon:—
BRITISH INSTITUTION.
The present exhibition consists of the works of the Italian, Spanish, Flemish, and Dutch masters. There are one hundred and ninety pictures, which have chiefly been contributed to the institution by his Majesty and the nobility.
No. 5, Innocent the Tenth, by Velasquez, is an uncommon fine portrait; it is very boldly executed, combining at the same time a sufficient degree of finish and great beauty of colour. His holiness is represented in quite a plain habit. The beauties of Guido's pencil will be traced in No. 6, Hippomenes and Atalanta. Claude, in his Embarkation of St. Paul; Sea Port, Evening, &c., charms us with his exquisite effects, which are so truly natural, that, while we view his representations, we may almost fancy ourselves transported to the magnificent scenery of Italy. In No. 42, Titian's Daughter, are seen the genuine tints adopted by the Venetian school of painting. No. 56, St. Appolonia, by Sebastian del Piombo, is a most admirable specimen of the master. No. 74, Landscape and Cattle, by Paul Potter, contains all that beauty of touch and delicacy of colour which render this famous artist so difficult to imitate. There are several very capital pictures by the younger Teniers; No. 77, his own portrait, and No. 95, portrait of the painter and his son, are truly excellent; as is No. 94, Figures playing at Bowls. A remarkable and very forcible effect is found in No. 93, The outside of a House with Figures—painted by De Hooge. Nos. 121 and 123, Flowers and Fruit, by the celebrated Van Huysum, are extremely elaborate in their execution. No. 161, The Battle between Constantine and Maxentius, is a sketch by Rubens, possessing wonderful fire and spirit, as well as great mellowness of colour.
Besides the above pictures, there are many beautiful productions by Jan Steen, Cuyp, Poussin, Salvator Rosa, Guercino, Domenichino, Murillo, Albano, Vandyke, Ruysdael, Houdekoeter, Wouvermans, &c.
G.W.N.
ANCIENT ROMAN FESTIVALS.
JULY.
The Caprotinia, or feasts of Juno Caprotina, were celebrated on the 9th of July, in favour of the female slaves. During this solemnity they ran about, beating themselves with their fists and with rods. None but women assisted in the sacrifices offered at this feast. Kennet says, the origin of this feast, or the famous Nonae Caprotinae, or Poplifugium, is doubly related by Plutarch, according to the two common opinions. First, because Romulus disappeared on that day, when an assembly being held in the Palus Capreae, or Goats'-Marsh, on a sudden happened a most wonderful tempest, accompanied with terrible thunder, and other unusual disorders in the air. The common people fled all away to secure themselves; but, after the tempest was over, could never find their king. Or, else, from Caprificus, a wild fig-tree, because, in the Gallic war, a Roman virgin, who was prisoner in the enemy's camp, got up into a wild fig-tree, and holding out a lighted torch toward the city, gave the Romans a signal to fall on; which they did with such good success, as to obtain a considerable victory.
The Lucaria was an ancient feast, solemnized in the woods, where the Romans, defeated and pursued by the Gauls, retired and concealed themselves; it was held, on the 19th of July, in a wood, between the Tyber and the road called Via Salaria.
The feast of Neptunalia was held on the 23rd of July, in honour of Neptune.