they may

nature, without first acquiring a knowledge of the great principles of the art, is as idle as it is pernicious and deceptive.

A painter, to become really great, should be familiar with every thing that appertains to human character, as well as with every thing that has form, color, or expression. He must paint for all ages, all times, and all countries. Like Shakspeare, he must address himself to the human heart, be the fashions, language, and notions what

To do this, he must be familiar with the works of those who have preceded him in the great race for fame, and whom the world has pronounced as masters in their professions. He must understand clearly and distinctly the principles that have guided them in their career, and never rest satisfied, until he has mastered their most difficult and trying efforts. When this is accomplished, we have no fear of his wedding himself to any particular manner, or identifying himself with any particular school. His field will be the world, and the world will award him the praise, then so justly his due.

Next to having our artists familiar with the principles of taste, the public that patronise and sustain them should not be behind hand in possessing the same knowledge. In England, France, and Italy, the patrons of the arts are, generally speaking, almost as well acquainted with what constitutes a fine painting, as the artists themselves; and this offers to the man of genius a real incentive to redouble his exertions in his efforts to produce great works. To such an extent is this observable to travellers in those countries, that it is an every-day matter to encounter spectators in an exhibition-room, discoursing upon the merits of a work with all the judgment and good taste of the most profound connoisseur. But this is not the case here. If a picture strikes the eye, by its violent contrast of color, or awakens some association of childhood, or is novel in the manner of its execution, we are at once enraptured with its author, and forth with pronounce him a second Michael Angelo or Raphael. The walls of private dwellings, instead of being enriched with a few works of a choice and rare character, are crowded with wretched portraits, and vile copies of old paintings, that have been purchased merely because they are cheap!

To correct public taste, we know, is a difficult task ; but to lead it, is more practicable; and on the part of the artists and the public press, imperative. The system of puffing, so prevalent among us, should be discountenanced at once. It should be understood that no individual, no matter how splendid his genius, can produce works truly great, without years of intense labor and study. In the language of Sir Joshua Reynolds, it should be understood that the life of man is too short to enable any one to arrive at perfection, and that nothing but constant practice, great experience, and a powerful mind, can earn an enduring reputation. When the public once understand this, their decision will be more tardy, but more permanent. And so many young aspirants will not appear before us, to pass away like a meteor, leaving not ever trace of their existence behind them.

For some fifteen years past, the writer has been a close and attentive observer of the progress of the fine arts in this country; and during this period has been repeatedly struck with the appearance of new candidates for fame, who, after exhibiting every sign of future greatness, have in a little time passed away, and been lost to us forever. On examining into the cause of this sudden extinguishment of promising talents, it has invariably been found that it is attributable to the extraordinary applause which has been bestowed upon their first efforts. They have been led to suppose that their knowledge of the art was complete, when in fact they were but in its very rudiments. They have reposed upon their fancied perfection, and never discovered their error, until they found themselves supplanted in public opinion by other candidates equally brilliant in their career, for the moment, but doomed to the same short-lived and shadowy reputation.

The press is certainly answerable for much of this disappointment in early genius. We can scarcely take up a journal of the day, but we find in it some extravagant article upon the work of some young tyro in the arts. Whether this is owing to the good nature of our editors, in wishing well to every young aspirant, or whether it arises from ignorance in judging of their works, we will leave it for others to determine. Certain we are, that the effect is most pernicious to public taste, and destructive to the future prospects of the objects of their notice. Articles should be written only by those who are fully competent to judge well and truly; and articles of this character will always carry upon their face an evidence of their value, by the thorough acquaintance they will exhibit of every part of the works they criticize. Instead of applying the general terms, that this is beautiful,' or that is ‘bad, they will point out why they are beautiful or bad; and thus enable their readers to judge for themselves, and be improved by the examination.

Next to the public press, the artists themselves, who have earned a substantial reputation, should be responsible, in some measure, for the low standard of taste among us. If they will administer to the groveling fancy of the ignorant and pedantic, by painting pictures suited only to inferior imaginations, on their heads must rest the consequences of a superficial taste in the community. The plea that works of this kind will alone find a purchaser, is no excuse, with any reasonable man. Painting then becomes a trade, and those who are compelled to give it this character, had better seek employment in the other walks of life, where a more lucrative, if a less honorable, destiny awaits them. Portraits and unmeaning fancy-pieces may find buyers, but elevated subjects alone will enable Painting to hold her station by the side of her sister arts, Poetry and Music.

There is an indolence among a large portion of our established artists, that is inexcusable. It undoubtedly arises from absence of competition, and the want of those great works of the old masters, both of which are essential to awaken a proper ambition among

them. But it strikes us that they do not avail theniselves of the means of study and improvement within their reach. Those who have visited the life and antique schools of the English and French academies, must have remarked the singular sensations produced by noticing men grown gray with age still drawing from the studies before them, with all the industry and zeal of the youngest students. But this is not so with us. Even the occasional visitation imposed upon the older members, by nearly all our academies, to instruct and guide the

student, is dispensed with, of late. The consequence is, that the little knowledge obtained in early years, is allowed to rust and become useless, through mere indolence and inattention.

It may be a question of some doubt, whether the fine arts will ever receive the same encouragement in this country that they have received in other countries. Wealth changes hands too frequently, to permit the same outlay in the establishment of private galleries ; and unfortunately, the few that do possess the means, want the taste so necessary to make them appreciate or collect valuable works. In other countries, a real good picture, or piece of statuary, passes like an heir-loom through many generations, and is venerated and prized, not more for its real merits as a work of art, than for the kindred associations it awakens in the bosom of its possessor. With us, the rich man dies, and his goods and chattels vanish before the wand of the auctioneer.

In saying that the fine arts may never receive the same encouragement here as in other countries, let us not be misunderstood. There will undoubtedly be great sums of money expended, annually, by the American people, in the purchase of paintings, but the amount will be scattered over a wide surface, and be spent generally in small sums on very indifferent works. Public institutions formed for the express purpose of encouraging the arts, may remedy the evil : but we know of only one of the kind in the country, and the praise of originating this work belongs to our friends in Boston. They have begun to form a collection of pictures, which is thus far highly creditable to them; and this leads us to the suggestions we wish to make, for the establishment of a similar gallery in this city, and with which we will close our remarks on this subject, for the present.

The establishment of a public gallery, that shall be open at all seasons, and accessible to all, consisting of some of the best works of ancient and modern masters, would tend more to the improvement of public taste, and a correct style in our artists, than all the schools, public lectures, and annual exhibitions, that have ever appeared among us. Here our artists would be able to compare their works with a standard that would not vary with every change of public opinion; and here the public would be able to gather information, that would make them ashamed of their readiness to appreciate the gaudy, the superficial, and the extravagant, at the expense of the chaste, the elevated, and the beautiful.

That such a gallery could be established here, we can hardly doubt, when we reflect upon the large amounts annually expended upon other institutions for instruction and amusement. To divide the burden of raising the necessary means, by making each share of a small amount, could scarcely fail of insuring success to the undertaking. Will not some of our public spirited and influential men undertake it? It will certainly redound to their credit, as much as it will to the city at large. We would not have it originate with the artists, but with their patrons, and the lovers of the arts generally. We would allow them every privilege, to use it for their improvement and instruction; but we would have them disconnected with it, that all heart-burnings and jealousies might be avoided at the commencement. VOL. XIV.

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We hope those who honor us with a perusal of this article, will think of it seriously, and if they view it as we do, let them set about the task of starting it with the ardor and good feeling that have characterized the commencement of other works for the public good.

'A SPECIES of the Mimosa drops its branches whenever any person approaches it, seeming as if it saluted those who retired under its shade: this mute hospitality has so endeared this tree to the Arabians, that the injuring or cutting it down is strictly prohibited.'

NIEBUHR'S TRAVELS IN ARABIA.

A GUARDIAN angel art thou, bless'd tree,
Outspreading thy sheltering arms o'er me;
A kindly spirit I know thou art,

Of a cheerful faith, and a loving heart;

I gaze through thy leaves on the midnight skies,
And fancy glimpses of Paradise

Shine through those vistas, dark and bright,

As they glisten and gleam in the fair moonlight!

Have I not shielded thee, beautiful tree,
From the pitiless rage of the Osmanli?
And the reckless Frank, with unsparing blow,
Would have laid thy fragile branches low.
'Tis an idle dream, but I fain would deem,
As quiver thy leaves in the bright sunbeam,
As thy branches wave in the tranquil air,
That my Leila's spirit is lingering there;
Those pensile boughs by the soft wind fanned,
Seem fraught with the light of the spirit land.

In the roseate flush of her sweet spring tide,
Azrael claimed my fawn-eyed bride;
When the sunlight fell on her early grave,
A pitying welcome thy branches gave;
Heart-broken, I shrunk from each human eye,
And fled to thy silent sympathy;

I marked thy flexile sprays uncurl,

Thy branches droop, and thy leaves unfurl;
My arms around thy trunk I wreathed,
And Allah's will be done!' I breathed.

A hallowed calmness o'er me stole,
Thy mute caresses soothed my soul;
My spirit would no longer wear
The hopelessness of dark despair;
A fountain in the waste, wert thou,
One star upon the misty brow

Of heaven; one line of light, one gleam
Of splendor on the moonlit stream.

At early dawn, thy branches spread
Their arching tendrils o'er my head;
Ever at eventide I strayed,

And revelled in thy grateful shade;
A fitting shrine, a temple fair,
To echo forth my vesper prayer;

My guardian angel thou, blessed tree,

A simple song I proffer thee;
A kindly spirit I know thou art,
Of cheerful faith, and a loving heart!

Gimcrack the Fourth.

BY HARRY FRANCO.

TIME'S TRACKS.

GENTLE READER: I would not willingly lead you into error, and therefore I will honestly confess, that the title which I have given to this Gimcrack has no more connexion with its subject than the name of a boy has with his character. But essays must have names, as well as men and towns; and if any of my ingenious readers should feel dissatisfied with the title of this article, he may address me on the subject through the post-office, and when I collect my 'works' for publication in another form, I will adopt any other name that may be suggested to me.

Lord Brougham has very justly defined true greatness to consist of being in advance of one's time; and the poets and philosophers who have found most favor with the world, are those who have been mindful of this plain truth; and taking heed to the injunction of Saint Paul, have left the things that were behind, and have reached forward to those things which are before; while we have lately seen an instance of the ill effects of neglecting this wise course, in the failure of a great poet in a neighboring city, who, in the choice of his subject, went back to the days of the antediluvians. With such a melancholy instance of misapplied genius before my eyes, it would be little less than literary suicide, were I to seek in history for the materials wherewith to season the entremets that I have undertaken to serve up for the guests who sit at OLD KNICK.'s table. I shall therefore make a long arm, and reach forward into the dominions of posterity, and gather up such crumbs as come within the reach of my fingers.

So what is this? Nothing short of a newspaper. That was a lucky grab. We will now see what our descendants are doing.

That was a long arm that I put forth, beyond dispute. It appears I have reached into that distant period when the friends of human rights have carried their plans beyond the wildest dreams of the present day. Women enjoy the same privileges as men; servants are unknown, and all government at an end; and such is the perfect equality of mankind, that the strong tyrannize over the weak with impunity, since there are no legal restraints to hinder, and the hardest fends off. But still the world is improving, and the inmates of the nursery are contending for their rights. The paper that I have grasped in my hand is the MINORS' MIRROR,' and is edited by an association of infants. It differs but little from many of the papers of the present day, except that the paper is of a finer texture, and the typography is greatly superior to any thing seen in this generation. The first article on the outside page is headed WALL-STREET,' and is of course devoted to that endless subject, the currency. The next is headed TRADE,' and as there appears to be some novelty in the editor's remarks, I will indulge the reader with a quotation: