fresh as hers, and his touch as firm, crisp, and well-defined: and he has this advantage over Nature, that, having his materials under his own controul, he never suffers any thing to intrude into his scenes that can in any way disturb the unity of the sentiment they are intended to express. In wandering through one of Nature's scenes of the above description, you may chance to meet the Lady of the Manor, on her sleek thorough-bred mare, with her liveried groom behind her; which is not the thing. But Hobbima takes care that this shall never happen in his scenes.-— The principal effects of Hobbima's pictures are always produced by some particular object, or set of objects, seen in the halfdistance, through an opening in the dark trees of the foreground, and by a light which falls almost exclusively upon them--the foreground being illuminated by reflected lights alone. These objects are usually a small thatched cottage, with its appurtenances, exceedingly small in comparison with the huge trees that occupy the front of the picture, and run up to the top, excluding the sky altogether from the upper part. These objects-with the living figures, of children, female peasants, &c. that accompany them, are represented as if in the full sunshine; so that one portion of this artist's pictures is always a strong contrast to the other, in point of light and shade. In the dark part of the picture, however, there is generally an appropriate figure introduced, or at least some object or other that connects this part of the scene with the other-otherwise the antithesis would be too great. I repeat, it is impossible for any thing to be more purely natural than the style of Hobbima. He not only never paints any objects or appearances but what he and every body else has seen; but none that can by any possibility suggest any thing else. I have said above that his scenes address themselves to and affect us through the medium of the memory alone. I should perhaps qualify this by saying, that, though they affect the imagination as vividly as those of any other artist that I am acquainted with, they affect that portion of it alone which is created by and dependent on the memory. There are but three specimens of Hobbima in the Dulwich collection-(82, 153, 168;) and neither of them are very capital. No. 153 is, however, an extremely pleasing one. ་ The only other Flemish landscape painters that I shall mention particularly are Jacob Ruysdael and Berchem. JACOB RUYSDAEL, is not unlike Hobbima in his mode of handling; and is a scarcely less natural painter. His trees, ground, &c. have equal firmness and decision with those of Hobbima, and perhaps even more crispness and spirit; and his waterfalls, and pieces of running water, actually talk and move-you can almost hear them as they go. As every artist knows where his own strength lies, better than any one can tell him, these were among Ruysdael's favourite objects. Indeed he scarcely painted a picture without them. There is also great force and depth in the foliage, which he always introduces into his scenes in great profusion. Ruysdael is, however, the least characteristic and mannered of any of the distinguished artists of his class and country. His manner, like Hobbima's, is almost exclusively that of Nature; and he perhaps used less selection in his imitation of her than any one else. It is by his touch alone that you can know him; not by his scenes and objectsas you may Hobbima almost to a certainty. A picture may be known to be Hobbima's by description alone-which can scarcely be said of the works of any other artist in this class. BERCHEM, from the merit of many of his works, claims a particular notice in this sketch of the Flemish landscape-painters; but there is nothing in his style sufficiently exclusive and characteristic to admit of description. His pictures are characteristic enough to be instantly known, but not to be distinctly made known to others. This arises from his style being not in any degree original and his own, but made up of the qualities of several others. He joins, in a very pleasing and tasteful manner, the delicate pencilling of Both, the smoothness of Wouvermans, and the truthand precision of Ruysdael; and there is an airy elegance in his composition which no one has equalled who has confined himself (as Berchem did) to familiar scenery, and almost the lowest class of country life.-There are five pictures by Ruysdael in this collection, and as many by Berchem. Among those by the former, 145 is a good specimen of his exquisite skill in depicting a waterfall; and 159 is very rich, natural, and fine. Among the Berchems, if I recollect rightly, 164 is the best and most characteristic example. Having concluded my notice of the Flemish landscape painters, I must now pause, and resume my subject in another article. SONG FOR A SWISS FESTIVAL ON THE ANNIVERSARY OF AN ANCIENT BATTLE. Look on the white Alps 'round! Where Freedom's voice and step are found, Forget ye not the band Of dauntless men, our sires, who fell Here, in the rocky battle-del!! If yet, the wilds among, Our silent hearts may burn, When the deep mountain-horn hath rung, Home Home!-if still that name be dear, Look on the white Alps 'round! That day the savage-rolling sound, Their caves prolong'd the trumpet's blast, Their dark pines trembled, as it pass'd. They saw the princely crest, The banner and the mail-clad breast, They saw-and glorying there they stand, Praise to the mountain-born, They left the vineyard and the field, F. H. SONG. FAREWELL then, loved and lovely one, I send one sigh before we part, C. H. SONNET FROM BENEDETTO MENZINI. I PLANTED in my youth a laurel-bough, Midst trees of loftier height, and nobler name. But yet I grieve not at its slow uprise; His is no easy task, no common prize, Who justly wins and wears the wreath of fame. ΤΟ AND shall true love indeed be thus requited When sunshine smiled on all around-and near For she hath dealt from out her deadly bow M. |