DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1310#0127
98 THE GREAT EXHIBITION
tions of merit in other glass-stainers and painters, we now pass on to a general exami-
nation of the works most worthy of attention in the late collection.
Messrs. Chance, Brothers, of Birmingham, exhibited a variety of paintings, amongst
which we noticed a Virgin in a green robe, well contrasted with some rich crimson
drapery. There was much breadth and simplicity about this figure. We also observed
a landscape, which would have been very well, but for the excess of green in the
arrangement of its colour. And here we may pause to mention a very curious fact as
to the glass paintings exhibited, viz., that each manufacturer or artist seemed to have
a peculiar love for one particular colour, in the production of which he succeeded better
than iu others. Thus Messrs. Chance's greens were pre-eminent for brightness and
-transparency; whilst, as we shall presently have occasion to remark, other glass-stainers
excelled in other colours, and affected them more exclusively.
Mr. Edward Baillie exhibited a painting of " Queen Elizabeth listening to the reading
of Shakspere," which surpassed all his rivals in the violent contrast of its lights and
shadows, and in the impenetrable opacity of the latter. We cannot say much for the
faces or drawing in this group. However, the Queen's white satin robe was very
brilliant j and the carpet was really so well executed, that we could have wished the
remainder of the picture up to the same level. Mr. W. Wailes was enterprising in
design, and displayed considerable brilliance of colour and transparency, but there was
a rudeness and harshness about the paintings which were not pleasing. The St. Helen's
Crown, Sheet, and Plate-glass Company sent a large painting of " St. Michael and
Satan/' in which the tail of the arch-enemy was prolonged to an indefinite degree.
There was some spirit in the drawing, but the execution was lamentable in every respect.
Some lions and unicorns by Tobay, the former yellow, and the latter white, were not very
wonderful productions, nor in any respect likely to outshine the ordinary lions and
unicorns of every-day life.
Messrs. Hetley and Co., of Soho-square, sent a very fine painting of the " Ascension."
In this work the rich colour in the foreground contrasted well with the lightly managed
atmosphere, against which the figure of the Saviour was seen in a " glory" very spiritually
conceived and executed. M. P. Lafaye was doubly unfortunate in being placed by the
side of Marechal, to whose works his specimens served as a foil. They were muddy in
colour, and very inferior in design. Henri Fougue sent some curious specimens of
mezzotinto transparencies, produced by glass or china, carved or modelled so as to
produce the different gradations of light, shade, and tone, in a manner remarkable
for its softness and purity of effect. M. Thibaut Dallet had a very brown monk,
effectively drawn, but deficient in transparency. His " Judith and Holofernes" was a
fierce piece, of strong expression, and somewhat crude but rich effect. Hed is evidently
the predominating and favourite colour with this artist. The " Lord's Supper" was
more transparent, but with little merit either in design or colour. Herr Geyling, of
Vienna, had a female figure leaning on a window-sill, which resembled an oil-painting in
effect. The flesh of the face and hands, and the white chemise, as well as the dress,
were well executed; but the opaque background was objectionable. As a work of art it
reminded one, on the whole, of Jullien's coloured lithographs. We consider this a strong
example of success in a line which ought never to be attempted by a glass-stainer.
M. Thevenot was chiefly noticeable for a blue turn of mind in his colouring. He
had, however, some very tolerable saints on pedestals, which were edged with gold, most
effectively rendered by transparent yellow glazing. His " Radegona" was a severe figure,
with much depth and richness, yet too opaque for real brilliancy of effect. The small
Gothic window, by M. Martin of Troyes, was remarkable as a quaint imitation of the old
style, as regards artistic treatment and brilliancy of colour. Upon these grounds, it was
tions of merit in other glass-stainers and painters, we now pass on to a general exami-
nation of the works most worthy of attention in the late collection.
Messrs. Chance, Brothers, of Birmingham, exhibited a variety of paintings, amongst
which we noticed a Virgin in a green robe, well contrasted with some rich crimson
drapery. There was much breadth and simplicity about this figure. We also observed
a landscape, which would have been very well, but for the excess of green in the
arrangement of its colour. And here we may pause to mention a very curious fact as
to the glass paintings exhibited, viz., that each manufacturer or artist seemed to have
a peculiar love for one particular colour, in the production of which he succeeded better
than iu others. Thus Messrs. Chance's greens were pre-eminent for brightness and
-transparency; whilst, as we shall presently have occasion to remark, other glass-stainers
excelled in other colours, and affected them more exclusively.
Mr. Edward Baillie exhibited a painting of " Queen Elizabeth listening to the reading
of Shakspere," which surpassed all his rivals in the violent contrast of its lights and
shadows, and in the impenetrable opacity of the latter. We cannot say much for the
faces or drawing in this group. However, the Queen's white satin robe was very
brilliant j and the carpet was really so well executed, that we could have wished the
remainder of the picture up to the same level. Mr. W. Wailes was enterprising in
design, and displayed considerable brilliance of colour and transparency, but there was
a rudeness and harshness about the paintings which were not pleasing. The St. Helen's
Crown, Sheet, and Plate-glass Company sent a large painting of " St. Michael and
Satan/' in which the tail of the arch-enemy was prolonged to an indefinite degree.
There was some spirit in the drawing, but the execution was lamentable in every respect.
Some lions and unicorns by Tobay, the former yellow, and the latter white, were not very
wonderful productions, nor in any respect likely to outshine the ordinary lions and
unicorns of every-day life.
Messrs. Hetley and Co., of Soho-square, sent a very fine painting of the " Ascension."
In this work the rich colour in the foreground contrasted well with the lightly managed
atmosphere, against which the figure of the Saviour was seen in a " glory" very spiritually
conceived and executed. M. P. Lafaye was doubly unfortunate in being placed by the
side of Marechal, to whose works his specimens served as a foil. They were muddy in
colour, and very inferior in design. Henri Fougue sent some curious specimens of
mezzotinto transparencies, produced by glass or china, carved or modelled so as to
produce the different gradations of light, shade, and tone, in a manner remarkable
for its softness and purity of effect. M. Thibaut Dallet had a very brown monk,
effectively drawn, but deficient in transparency. His " Judith and Holofernes" was a
fierce piece, of strong expression, and somewhat crude but rich effect. Hed is evidently
the predominating and favourite colour with this artist. The " Lord's Supper" was
more transparent, but with little merit either in design or colour. Herr Geyling, of
Vienna, had a female figure leaning on a window-sill, which resembled an oil-painting in
effect. The flesh of the face and hands, and the white chemise, as well as the dress,
were well executed; but the opaque background was objectionable. As a work of art it
reminded one, on the whole, of Jullien's coloured lithographs. We consider this a strong
example of success in a line which ought never to be attempted by a glass-stainer.
M. Thevenot was chiefly noticeable for a blue turn of mind in his colouring. He
had, however, some very tolerable saints on pedestals, which were edged with gold, most
effectively rendered by transparent yellow glazing. His " Radegona" was a severe figure,
with much depth and richness, yet too opaque for real brilliancy of effect. The small
Gothic window, by M. Martin of Troyes, was remarkable as a quaint imitation of the old
style, as regards artistic treatment and brilliancy of colour. Upon these grounds, it was