THE ART GALLERY.

New Zealand Herald, Volume XXV, Issue 8987, 27 February 1888, Page 5 (Supplement)

THE ART GALLERY.

OPENING BY THE GOVERNOR.

SIR GEORGE GREY'S DONATIONS.

MR. DOMETT'S GIFT.

On February 17, at half-past three, the ceremony of opening the Auckland Art Gallery was performed by the Governor, Sir William Jervois, in the presence of a large audience. A small platform was placed close to the wall, between the two entrances, and around this chairs were arranged in semi-circles. On the wall opposite the platform was hung the gift of Mr. Domett, the copy of Maclise's famous " Play Scene in Hamlet." It was veiled with grey calico. The Mayor had had the forethought to prevent a repetition of the temperature} experienced at the opening of the Library Buildings by having a number of panes removed from the skylights of the hall. The chair was occupied by His Excellency the Governor, who had on his right hand the Mayor of Auckland, Mr. A. Davore, and on his left Mr. E. A. Mackechnie, president of the Society of Arts.

There was a very large attendance, principally of ladies. Amongst those present Admiral Fairfax, Mrs. Fairfax, Miss Dundas, Mr. and Mrs. J. M. Clark, Miss Harley, Mrs. Devore, Captain Tynte Hammil (of the Nelson), Captain Fortcscue (A.D.C. to the Admiral), Major Jervois (A.D.C. to the Governor), Paymaster Rodgers, Flag - lieutenant S. Erskine, and a number of other officers from the squadron, all of whom occupied the first rows of chairs. In addition to these there' were present : — Hon. H. Chamberlin, Messrs. H. M. Jervis and E. Barfcloy, Very Rev. Monsignor McDonald, Messrs. W. P. Moat (M.H.R.), S. Luke (Chairman of the Education Board), J. L. Holland, Rev. W. Tebbs, Messrs. Josiah Martin, F. J. Jones (Mayor of Newton), F. J. Moss (M.H.R.), Dr. Purchas, Messrs. G. P. Pierce, J. Waymoutli, Inspector Shearman, Dr. Murray Moore, Messrs. J. M. Brigham, W. Berry, jun., J. T. Campbell (American Consul), Captain Webb, Messrs. W. R. Waddel, the Attorney - General (Sir F. Whitaker), Messrs. W. Morgan (Mayor of Newmarket), Lennox, Hewson, Swales, Evans, Phillips, Crowther, and many others. After taking their seats, His Excellency called upon His Worship the Mayor to deliver an introductory address.

The Mayor, who was received with applause, said : Your Excellency, ladies and gentlemen,—This afternoon has been set apart for the opening of this Art Gallery to the public, a fitting finale to the proceedings of that day in March last, when an audience assembled hero to witness the ceremony of the opening of the Public Library. On that day Sir George Grey was the central figure, and I regret exceedingly that; the state of his heaith at the present time has prevented his being present to-day. When the Library was opened the walls of this room were bare, and it was then a matter of conjecture to us when, and in what manner, the walls would be covered, until Sir George Grey came to our assistance, and unsolicited presented to us the best of his pictures, 25 in number, and these pictures now appear on that [the eastern] wall. (Cheers). Many of them are fine works by famous and well-known old masters, valuable to the city, and instructive to the artists resident amongst us ; and I take this opportunity of thanking Sir George Grey for his last and most acceptable gift, regretting that ho is not present with us to-day. These works will be a continual reminder of Sir George Grey, and a memento of what he has done here. (Cheers.) His Worship referred to Mr. A. Domett's picture on the opposite wall, and also alluded to the loan collection at either end of the room, many of these works being by local artists, and should prove of great benefit as drawing attention to the beauties of the city, and inducing visitors to take interest in the places depicted. Mr. Devore proceeded : The room is a very large* one— the largest in the Australasian colonies ; it is well lighted, and I venture to remark, well painted, as far as it has gone. The dimensions of the room are as follows : —-The length of the room is 105 feet, its breadth is 32 feet, and the square feet of wall space of 5890 feet; sufficient for six times the number of pictures that you see to-day. In addition to the pictures I given by Sir George Grey, others have been given by local donors. Mr. J. McCosh Clark has given three"Through the Meadows," "The Knight in Armour," and "A Study of a Head. Dr. Campbell has presented "Old Tamaki Church." The picture, "Will She Weather It?" has been presented* by the Auckland Society of Arts, and Mr. Albin Martin has 1 presented four, so that altogether there are 35 pictures which are the property of the city ; and we may hope in a few years to see the whole of the walls covered with pictures. In addition to the pictures presented by Sir George and the other donors, there are many other rare and valuable articles in the Public Library, which will be placed here at the request of Sir George Grey as soon as the accommodation is provided. The Art Gallery will be devoted not only to pictures, but to many rare curios of all kinds, which may be seen in the other room on application to the Librarian. I fear to go much further, for I may venture upon the ground set apart for His Excellency, but Defore the Gallery is opened, I take this opportunity of thanking those donors who have given pictures, and those who have lent pictures, and I trust that the example of the donors and the lenders will be largely followed. (Applause.) I am sure that the remarks made to-day, and the large attendance here present, will do much m bringing to this Gallery that which will assist in further ornamenting it. (Applause.) I also thank the Hanging Committee — Messrs. Bartley, Holland, Symons, and Mackechnie —for their care and trouble in hanging these pictures, with the result which you sec. His Excellency has honoured us with his presence to-day. Immediately 011 being requested by me to do so, he responded at once, without demur, and said that it would be a pleasure. (Applause.) I venture to think that those not here, resident in Auckland, and resident in this and other colonies, will have a very high opinion of this Gallery when they learn that His Excellency the Governor has thought it fitting that he should open it. (Loud applause.) Mr. E. A. Mackechnie then addressed the assemblage as follows : —Your Excellency, Mr. Mayor, ladies and gentleman : The picture— I will presently ask His Worship to uncover—is a copy of Daniel Maclisc's celebrated painting representing the "play scene" from Hamlet. It was forwarded to this colony some months ago by the donor, Mr. Alfred Domett, whose death, 1 regret to «iy, occurred in November last. Mr. Domett's name was well-known throughout this colony, and in England, as one of New Zealand's leading men. Whilst here he filled many important offices, and was Premier of the Ministry in the year 1862-3. Bit. the press notices of Mr. Domett's career have been so recent, so full and complete, that it is unnecessary to enlarge upon his career now. It. must, however, be most gratifying to the people of this colony to find that men vho formerly occupied prominent positions in her public service retain, wherever they may reside, a lively inte- | rest in her welfare, and a desire to aid in her social and material progress. (Applause.) Maclise's painting has been well and faithfully copied by the donor's son, Alfred Nelson Domett, an artist of good repute and position in England. The work in the doing of it occupied a considerable time— eighteen months or two years, I believefor the original pain ting is in the National Gallery at Home, which is only open to artists for the purposes of study during certain days in the week. Hence the time occupied in completing the work. When it was finished it was purchased by the donor from his son, and assigned to trusteesMajor George and myself—for the benefit of the citizens of Auckland. (Applause.) The assignment was made by deed, and I think it right to read from the document itself the trusts on which the picture is 'held. It was assigned to the trustees under the following deed :— Witnesseth that in consideration of the duties hereinafter undertaken by the said trustees, the said Alfred Domett doth hereby give, transfer, ami, aasign unto the said trustees an oil painting, painted and executed by A lived Nelson Domett, being _ a copy (j( the original painting by the late Daniel

Maclise, entitled " The Play Scene, Hamlet, to hold and stand possessed of the said painting upoil trust for the citizens of Auckland ; and the said trustees shall deposit the same, if arrangements to the satisfaction of the said trustees can he made with the City Council of Auckland, but not otherwise, in that portion of the building known as " The Free Public Library," Wellesley-strcet, Auckland, aforesaid, designed and built for an ArO Gallery, to be viewed by and exhibited to tho citizens of Auckland, free of charge, at such times as the Art Gallery shall be open to the public. And if no satisfactory arrangement can be mada with the said City Council, then to place and display tho said painting in the buildings known aa " The Auckland Institute and Museum," Princesstreet, Auckland, aforesaid, or in such other public institution as may be deemed desirable by the said trustees; but so that wheresoever the said painting may be placed by the said trustees, the citizens shall have opportunities for some time during each week day, ween the institution is open to the public (not less than three hours during each day) of viewing the said painting, without payment or charge to them of any kind; and further that the said trustees shall not part with the control or right to possession of the said painting wheresoever they may place tho same for exhibition, and shall have power and authority to remove tho said painting at their tliscretion, and as often as they may deem advisable, from one institution to another, and shall attend to keep and preserve the said painting in good order and condition, tire and accident only excepted. At the time tho deed was prepared ib was doubtful for what purposes this Gallery would be used, and provision was made accordingly. But the City Council having, in the true interest of the citizens, as it appears to me, set apart the Gallery as a permanent Art Gallery, the trustees ara enabled so far to fulfil their trust by depositing the picture here. The other conbitions on which the gift is made are sett out in a private letter from the donor to Major George. These, with some particulars of the picture itself, I deem it advisable! also to read, so that the citizens may know in Mr. Domett's own words the conditions on which the picture is presented. Mr. Domett wrote as follows —

With Alfred's picture you will get a testimonial given to him by Mr. Pickersgill, the Royal Academician, &c., as to the excellence and correctness of his copy. We have had it framed and glazed, and wish "the Trustees' to take care that ib is hung under, or near, the picture wherever tho latter is exhibited. I consider this doubles the value of the picture, because most people 111 New Zealand will never be able to see the original and judge for themselves; and, even if they could, would most likely have so little confidence in thenown knowledge and judgment that they would bo afraid or chary of expressing an opinion about it. iiut with so high an authority as Pickersgill in its favour, I have 110 doubt they will not hesitate to admire it, and say so. lam quite sure myself that: it is a flrstrate copy perfect fac simile of the original, from which the majority of spectators •would hardly be able to distinguish it, if not aided by tho fact that Maclise began the latter on too small a canvas, and had to join a piece to it, the joining line being distinctly visible, and a great blemish. 1 hope the Trustees will take care that in any printed catalogue of tho picture in the Gallery or other place it may be exhibited in, Pickersgill 3 testimonial printed under the name of the original picture in smaller type, as you know is often done with respect to pictures exhibited at the Royal Academy or Grosvenor here. To appreciate Plckersgill's testimonial you should look into " Men of the Time," last edition, ISSG. You will see there his successes, and how his picture of "The Death of Harold'' was immediately bought to decorate tho walls of the then Now Houses of Parliament. And this is all I have to say about the picture, excepts that I take it, it is really worth £500, if there wera any absolute method of fixing any picture's value, which depends so much upon extraneous circumstances. '

The testimonial referred to reads as follows :—

Royal Academy of Arts, London, W., February 25,1857. Dear Mr. Domett,—lt is a real pleasure to me to have this opportunity of expressing my opinion of your excellent copy of the Hamlet by Mficli.se. You have not only succeeded in Retting the tone and drawing of the oriyiaal, but you liavo imitated the firm execution which is so characteristic of the work of that painter.—Yours sincerely, Fred. R. Pickergill.

The value of a testimonial or criticism on a work of art, depends greatly upon the person who makes it. None can doubt the value of Mr. Pickersgill's, and when he says a work is an excellent copy, we may bo assured it is so. Mr. Mackechnie then said : Mr Mayor,—The trustees place here, today, this picture, in terms of the trust deed, and on the conditions mentioned in Mr. Domett's letter, copies of which document will be forwarded to the Town Clerk. The City Council will doubtless take an early opportunity, suitably to acknowledge the gift. It now only remains for me to ask your Worship to uncover the picture and to receive it on behalf of the citizens."

The Mayor then stepped forward and uncovered the picture in the presence of the audience, who all rose and applauded heartily. His Excellency the Governor, who was received with loud applause, said : Mr. Mayor, ladies and gentlemen,—When I received the invitation to open this Art? Gallery it occurred to me at first that the function would more properly devolve upon the donor of the splendid and munificent gift which forms so large a portion of the collection which now adorns these walls. But feeling that Sir George Grey would shrink from even a semblance of a parade of his own generosity, and desiring myself to bear my humble testimony to the great gifts 'with which he is endowed, I had no hesitation in acceding to the request that I should occupy the position which would naturally devolve on him. You all know these are not the only monuments of his public spirit, and I may add, of his extensive knowledge. (Applause.) To Cape Town, in South Africa, as well as to Auckland, in New Zealand, he has presented a valuable Library for the free use of the people. Wehn I turned from this gallery and looked through the treasures in the general Librarythe rich missals, the old editions, the precious manuscripts, and the more homely but not less valuable books, I may say in the words of the poet, "And still the wonder grew, that one small head could carry all he knew." (Applause.) There we trace the ethnologist, the bibliophile, the antiquarian, and I might add— the evidence of which is displayed on these walls see the true lover of art. Mr. Mayor, I must congratulate you on the building which by the conditions of the gift, has been erected to contain it. I regret to find that the valuable pictures bequeathed by the late Mr. Mackelvie have not also found a resting place on these walls. (Cheers.) You will all no doubt agree with me that it is a great pity that under the terms of his will a legal condition has arisen which prohibits so desirable an arrangement. This is the more to be deplored because the property bequeathed for the erection of a suitable building cannot be realised. I earnestly hope that this defect may be overcome, and that Air. Mackelvie's fine collection, which I regret to hear, is deteriorating for the want of proper care, may take its place by the side of Sir George Grey's gifts. (Cheers.) Ladies and gentlemen, the Art Gallery is—l must again add through Sir George Grey—the first permanent one so far in New Zealand. I believe, too, that the Auckland Society of Arts is the oldest south of the Line ; and, viewing these two facts together, I cannot but think that the one is the consequence of the other. You have here in the 28 pictures presented by Sir George Grey examples of many schools Early German, Italian, Dutch, landscape, and figures, and last, but not least, our own Sir Joshua Reynolds. I might dwell on their design and point out the excellences of each, but this can be done at any time, and I must remember that) I am opening this Gallery not to your students only, but to the public at large. It is often said that a young country is like a young man. It must sow its wild oats and derive its knowledge from its own experience. Now we know that young men are sometimes not inclined to respect their elders over much, and so it may be perhaps with young countries. In old countries the people are educated and brought up in the shadow of old and venerable institutions such as our English public schools. The young find themselves under the walls of old cathedrals, or monasteries, or cloisters, and so they grow up with a reverence for what is old. In a new country these feelings cannot) exist. To transport old cathedrals and monasteries out here would not be possible, but pictures such as these brought from the old world help to teach the lesson of reverence. We call certain paintings " old masters, showing that we must be content to learn from them without hope to excel them, and thus we are taught to recognise the fact that our fathers could do something better than we can. These pictures are not merely coloured squares of canvas worth so many thousands of pounds. They possess a great moral value not to be estimated in pounds shillings and pence. (Hear, hear, and applause.) The first profit to be derived from them seems to be a sense of reverence. The highest form of reverence is that of children for their parents. Next is that of parents for their children I am not speaking without book on this last point, for an old Roman wrote 1900 years ago: " Maxima, debet pueris reverentia" (" the greatest reverence is due to children"). He never wrote a truer lino in his life. Young and old can share in this profit. (Hear, hear.) But I see you do not need any words from me to recognise the value of these old masters. This" fine gallery is sufficient evidence of that, and it) is gratifying to know that there, are many.

able artists in this country whose works will be the foundation of a New Zealand School of Painting. You will remember how upon one occasion John Ruskin once taunted an English audience by asking how with their dull and foggy skies, they could hope to have the Italian artistic feeling. Now hero you have an Italian sky, you have an Italian sea of a beauty equal to that of Italy, and a native forest unapproached in that country. Yours it should be to show how the English genius for landscape can expand under a New Zealand sun. I said "should be," but I should say, perhaps, is," for the growth has already begun. I have seen numerous cheering signs of it m many art exhibitions throughout New Zealand, which promise to blossom in the future. Many beautiful features which at present display themselves in this country must disappear before the march of civilization, so let their memory be kept on canvas. »»hat, for instance, would we not give for a scene in England bv Julius Cc>sars AdjutantGeneral, or of York by Constantine s tutor Two pictures on these walls illustrate what I mean, those of "Old Tamaki Church, and " A Now Zealand Swamp." The church s in ruins, and will disappear, but it will live on canvas, and remain to be reverenced by the future youth of New Zealand. That swamp, too, with all its weird uncanny beauty, must go. The stagnant waters breed fevers and mosquitoes, which are both injurious to Now Zealand children, and our children must be healthy in body and mind. But we have a picture of a swamp for posterity to contemplate. As time goes on, the English genius for portraiture may develope, and we may one day have a Gainsborough or a Reynolds in Isew Zealand. I look into the dim futuro and seem to see a great school of New Zealand painters and architects. I look forward to the day when this building will be too small for tho Auckland Gallery of Art and the gifts of Sir George Grey and other generous people who "have helped to form it. When the merchants of Auckland, as in Florence of old, shall meet to criticise the proposals of their greatest architects, and give the objects of their choice money and scope for the full realization of their designs. I doubt not, however, that for many ft lone: year the fine structure in which we are assembled will afford ample space for the display of many works of art both of ancient and modern painters, which will be owned by the Municipality of Auckland. (Applause.) Mr. Mayor, ladies and gentlemen, —It is with a sense of the highest gratification to myself and of gratitude to Sir George Grey and other donors—Mr. McCosh Clark, Dr. Campbell, Albin Martin, and the late Mr. Domett—that I now declare this gallery open to the public. (Loud and prolonged cheers.) Upon the conclusion of the Governor's speech the audience dispersed, after making an inspection of the various pictures. Tho copv. of " The Play Scene in Hamlet" was an object of special attention. At the invitation of the Mayor, the Governor, Admiral Fairfax, and their friends went to his private room, where refreshments were provided.

CRITICAL NOTICES.

THE PLAY SCENE IN "HAMLET."

One of the most important events in the history of Auckland was inaugurated no Friday, the 17th instant—the first opening of the people's Gallery of Art. Such an event must ever be an important one in the annals of any city ; and in this little city of ours, all these thousands of miles from the old mother country city as yet but in the freshness of its youth— was a memorable day when first a local habitation was given to the Fine Arts, in the house dedicated to them by the citizens of Auckland. We cannot possibly forget how fortunate Auckland has been in this matter, in having so many generous dona (rente*, though living far away ; besides other friends, citizens still resident in our midst. The most gift is the munificent one of Sir George Grey. Besides all these we have had placed, for the present at all events, various pictures belonging to the Society of Arts, and to otherspictures by our own rising artists; and these will be found to form by no means the least interesting portion of the works of art exhibited. To let all and sundry, far and near, know the good beginning made, we shall endeavour to describe some of the first works placed in our art collection. As the largest and most conspicuous picture, and the first actually received in the building for the Art Gallery, is the copy of Maclise's "Play-scene from Hamlet," we may proceed to say something of the painter, and of his celebrated picture (referring at first only to the original, in the Rational Gallery, London.) That Maclise was a great artist no one who knows anything of art, or who is himself an artist, will venture to gainsay. For Maclise is deservedly placed in the very front rank of the (jtnre painters of the present century, his place there being unmistakably assured. His excellences were readily perceptible, and could not fail to be appreciated. In choice of subject, he was for the most part singularly nappy; in drawing, he was bold, correct, and unflinching in grouping, always judicious, often highly ingenious, and even masterly; in general execution, most "express and admirable." His pictures arc almost always interesting in the highest degree. Well we remember the pleasure with which we used to look forward to a picture of Maclise's being seat to the annual exhibition in our native town. Any production of his was of course honoured with rail and cord, and each day, from morning till iusk, a crowd of visitors would be found in ;lose inspection of the astonishing wealth of incident and enjoyable detail which was ilways so finely and lavishly bestowed. His "faults, however, as well as his merits were not far to seek. The chief failings appeared to be in colour, which was generally somewhat dull, wanting much of the brightness and vivacity of many of his contemporaries — and the rather confused flutter of light and shade, so commonly manifested in even his best pictures. Upon close examination, however,taking the work in strict detail, all is well—drawing, grouping, general composition, thoroughly good ; and yet in many instances the general effect is not entirely satisfactory. Maclisp's pictures must, we think, have caused much anxiety to any engraver who may have been called upon to translate them into black and white, and who may have had an honest desire to convey the undoubtedly beautiful effects given in the original. This same shortcorningof perplexing effects of light and shade, and in addition a peculiar metallic effect too common in his pictures — is well exemplified in the genuine picture by Maclise, which we have in the Mackelvie collection, "The Spirit of Justice." This picture is by no means a favourable example of Maclise's powers, not being particularly interesting (a fault very rarely found in his work), representing, as it does, a mere abstraction, and withal being, in many respects, positively theatric. The title is ticketed upon the frame, bo that all may read, but it is to be feared the picture is " caviare to the general." In fact, unless to an artist, who looks into it with interest centred in the mere technique, (not overlooking the imaginative power either), it is really an effort of riot high although doubtless the working out of the subject, taking it in minute detail, is remarkably fine. We have mentioned what appear to us to be somewhat too prominent faults in the works of so esteemed an artist; and we have now to state (what we said years ago) that in the picture, of which Auckland possesses the copy now under notice, there are fewer of the faults referred to than we have observed in any picture we have yet seen from Maclise's hand. The composition is excellent, and the harmony in light and shade very fine indeed. In very truth it seems to us almost impossible to imagine a more intellectual rendering of a noble subject than this really fine picture gives us. But before going further, we would desire to remark—apologising for the seeming digression— upon the work of another artist; one of high rank also, who has left us a design for a, picture of the same scene. We have before nsMoritz Retzsch's outline designs for pictures in illustration of Shakespeare's llama (published at Leipsic, 1827). This eminent artist etched, among many others, designs for Goethe's Faust, several of Schiller s poems, and the four grandest of all tragedies, Shakespeare's Hamlet, Macbeth, Othello, and King Lear., In Ketzsch Hamlet series he gives a design for the play scene; and it is curious to note the close similarity in general idea there is in the designs of the two artists. No one will deny that Maclise was so entirely opulent of resource himself that it would appear preposterous to think of his either adopting or adapting another man's ideas; nevertheless, the estimate of the subject, and the design of the two men, are almost identical. Retzsch places the player's stage in the rery centre of the picture, the action being it the moment when the villain Lucianus "pours the poison into the sleeper's ear." The disposition of the spectators is somewhat remarkable; they are not placed as looking straijditly forward to the stage, but, is sailors phrase it, "side on," by which means a full view is obtained of the whole action, ami a grouping of the ligures introduced at once simple and effective. The fcin 2 ami Queen sit on ouc aide; the poor old

Polonius being immediately behind the King's chair On the opposite side Ophelia is seated, Hamict on the floor at her feet, and Horatio behind, his hand resting upon the back of her chair Courtiers, pages, and attendants hll up the grouping, which is exceedingly natural and appropriate. The guilty King is upon the very point of springing from his seat— hands nervously clutching the chair-arms. The drama is already upon the very .stroke of its abrupt close— drama never to be finished in this world. The agonised cry : " Give, me some light— !" is just upon the unhappy man's lips. Another moment, and all will be astonishment and confusion. Maclisc's arrangement is almost precisely the same. The "play within the play" is going on in the centre of the picture; the same action being represented. The spectators are placed in the same way as in Retzsch's design—"side on" to the stage. (It may be remarked as curious in Maclise's arrangement that out of all the largo number of spectators present, little over a dozen can by anv possibility see what is being done upon the stage ; and, but for the direction in which the King is looking, it might be supposed that the point of view is just in front of the greater portion of' a supposed audience.) , The King and Queen sit on one side on the opposite is Ophelia, and behind, leaning upon ner chair, stands "even with the very comment of his soul" watching the wretched King. Hamlet on the lloor at Ophelia's feet, his eyes with eager intensity watching every movement of"his father's murderer; and it is seen that the moment is nigh when " the King rises," and "Lights! Lights 1 Lights!" is to be the cry of all. Now, is there any suspicion of plagiarism here ? We have said that Macliso hail sufficient wealth of resource to render it unnecessary for him to borrow, much less to steal, from another, and yet here we find him fearlessly adopting the same structure as his German contemporary proposed. Of course any unfair borrowing was simply out of the question. Retzsch's outlines were, and still are, well known to all the artists of Europe. Would it bo allowable to imagine that Maclise, after fullest study of the whole subject, and having it clearly before his mind's eye, mentally walked round about it, so to speak, over and over again until ho was fully convinced as to what was the best point of view, and thus finding that the disposition outlined by Retzsch appeared to himself really the'best of all, ho deliberately accepted the German artist's suggestion (as to the general laying out of the design) and then wrought out the details ill his own striking and masterly way. We have "already stated that there is less of the besetting fault of Maclise's style in this than in any other picture of his we have seen (although there is a trace of it here too). The broadest light lies in the beautiful figure of the heart-broken Ophelia, " clad in robes of virgin whitethis being well balanced by the light upon the Queen's attendants, on the opposite side. The central light is curious, but very fine in issue : the lamp close to the : floor, and partly concealed by the " wings," throwing its upward light upon the recum- j bent figure upon the stage, and the halfshadowed murderer stooping over. The portentous shadow of the hand in the gloom of the further back-ground, is also produced by this light with strange and weird effect. Every detail is wrought out with marvellous care ; the stern watchfulness of the trusty Horatio, and the searching and dangerous gleam in the eyes of the simulating madman are given with wonderful power. In fine contrast is the utterly apathetic look of the hapless Ophelia, as it but little concerned in the fell tragedy going forward not upon the stage, ami thinking only of the wreck of him, the " observed of all observers," her noble and gallant lover, whose reason she believes dethroned. All these, indeed all the figures in the picture, are wonderfully tine: but the central force of all is in the figure of the miserable King. There —before his eyes—his hideous crime is consummated even yet again ! He is stricken through as if with the sword of fate ; he sees not that he is close watched by those whose enmity is fatal. He can look upon the "counterfeit presentment" no longer, but turns his face from the terrible reminding, and clutching his diadem-cap over his brows, he looks awav—away — horror, astonishment, and despair. (The perfectly peaceful and innocent face of the little boy page, close to the head of the guilty usurper, intensifies very finely the tragic force of the central figure.) < A memorable picture indeed! _ It was painted in 1542, d>* Daniel Maelise, R.A., whom our Scottish friends will be proud to claim as a countryman. His father was of the family of Macleish, of Callender, and married a lady of Cork, where the artist was born in 1S0() (or 1811—it is curious that lie himself did not know which). Of course our English friends will repeat the old jibe that the .Scotch are always so desirous of claiming the best men as either directly or by descent countrymen of theirs. There may be " something too much of this," no doubt; but we know, upon the high authority of Mr. Punch, that the Shakespeares belonged originally to Paisley, and Homer was Dorn in the island of Skye. With respect to the copy with which our city has been presented, not much need be said. Maclise's pictures were difficult to engrave, and certainly no less difficult to copy in colour. In this instance the intrepidity with which such a tremendous task has been entered upon, and achieved, cannot be too highly extolled. The whole copying is, as vulgarly expressed, " in good form "—that is, every outline is as correct as if laid off to scale (no doubt it was), and the whole design and rationale of the original is fairly well indicated. But—Mr. Pickirsgill's warranty notwithstanding—we must state, not without reluctance, that, conscientious as we doubt not the effort was, the outcome is not bv any means worthy of the original. The colouring is unquestionably exaggerated, and the gradations of light and shade are very imperfectly rendered; the fault referred to as shown in many of Maclise's pictures, of too much flickering and uncertainty of lights, and which is so pleasantly wanting in the original of this picture, being revived here with infinitely damaging effect. The middle light upon the stage, and all | the detail in that portion of the composition, is not half sufficiently subdued, and the colour all over is almost garish—far indeed from the rather too sombre tone so generally characteristic of Maclise's work. This fault, however, mav yet be to some extent remedied by time. Mr. Pickersgill commends the correct rendering of the " tone and drawing," and the reproducing of the "firm execution" of the original. As we have said, Maclise's work had too often the defect of being somewhat metallic in surface, somewhat hard, perhaps, but there were many beauties which were far less easy to convey than the defects, and the want of these beauties is fatal. Maclise's handling was wonderfully fine : in this copy the brush work is positively coarse, e.g., the group behind the standing figure of Horatio, and even the face of Hamlet himself ; but, indeed, the meaning of the faces throughout has been in great measure missed outright. The drapery almost all over is excessively faulty (that above the proscenium being especially bad). It seems incredible that, with Maclise's correct work before him, the copyist should have made such failure. We fear that at best we can only esteem the copyist's effort, commendable in many respects as it is, as sadly wanting in intellectual appreciation of the work he took in hand. All this we regret much to be compelled to say ; and it is the more disappointing, the choice of subjects of copy being so admirable; for a really good reproduction would have given some worthy idea of the best picture ever Maclise painted— large frescoes of the " Death of Nelson," and " Wellington and Blucher," by no means excepted.

SIR GEORGE GREY'S PICTURES. It is with some diffidence that we enter upon a notice of the pictures, mostly by the old masters—so generously presented to the citizens of Auckland by Sir George Grey. When we come to deal with the "Old Masters," it is a very matter different from the plain sailing we may safely enjoy when we can see the merely recent touch of a modern hand. Besides this, there has been such an inconceivable amount of juggling in this region of the "old masters," that even a good juctee may bo entirely deceived. _ The whole schools of art—Venetian. Florentine, Flemish, Dutch, Spanish, and the rest, to all appearance having had " branch establishments " in War-dour-street. We refer, of course, only to the general subject of the collecting of pictures attributed to the old masters, which requires much experience and thorough knowledge of characteristic; but there is satisfaction in trusting that the source from which Auckland has derived her first collection of such works of art gives assurance of judicious selection, and real value.

We shall take the pictures in numerical order, although at the very outset we cannot help wondering why such a troublesome arrangement of the numbering has been carried out. It would surely have been better to have had the pictures placed and numbered straight on in the first instance, say from left to right, the list then drawn up. But the latter process has apparently been gone through first, and the pictures ticketed afterwards. It may not matter much if one has the list in hand, and looks from picture to list; but if a picture by any particular artist be sought for—the numbers are on all parts' of the wall, back and forward, from end to end. There is generally some wiseacre intrusted with these matters. No. I.—" A Dancing Group (Stothard): We have here Stothard's best characteristic, his fine colour; and his worst, his careless draw in". How well he could draw when he chose, his desiaus for Rogers' "Italy" and

" Poems," and other well-known works, will show. But in later years he appears to luvve taken to "artists' fancies" more than to hotter things, and so, except in the matte* of colour, his later productions havo not been m many instances of very great value. His general effects, however, are almost always pleasing, and such is true of the picture betore us. _ „ m , No. 2.—"Girl Arranging Flowers : The name of the artist is not given in the list, but this seems undoubtedly to be the work of Caspar Netcher (Antwerp; died lt>S4). It is an entirely delightful picture of a very young lady, bright and piquant, and of most, joyous expression, in the midst of lovoliest flowers. The whole action is of surpassing grace and elegance, the drawing and colouring remarkably line, and the artists meaning realised with brilliant success. Netchers cabinet pictures are now held as of very high value; and this line example would do honour to any gallory in the civilised world. No. 3.—"Ceres in Search of Proserpine (Wilkie): We cannot make this out. It it bo really by Wilkie, it looks as if it might be a copy—not unlikely from Fuseli —made when \\ ifkio was at his early studies. We fail to see any indication of either his first or bin later style in this ; there is some fair colouring, however, and the general effect is at least striking. ' „ ■ No. 4.—" Boys Playing Cards " (Fransllals —1584-1003): Hals was the master under whom Adrian van Ostade studiedthe pupil in the end fairly transcending his master. This is a good picture, however. The chief fault appears to be the want of relief of the figures from the background, which latter in itself is nothing (Ostado's backgrounds aro generally worth looking into). The expression of the faces is perhaps somewhat exaggerated, the action somewhat " overstated " also. The patching of the poor boys' " duds " is something to remember Sartor resartus ! —the patclier re-patched—the great Herr Professor never hinted at anything like this ! No. s.—"Scene in the Tyrol" (Chalon): Chalon was a fashionable portrait painter, some forty or fifty years ago. French (naturally) in style, very clever, but rather flimsy. We never saw a landscape of his before, and this is rather a good effort in landscape, even if somewhat faulty in ,Trial perspective, and dull in tone. The orchard in the foreground is very good, as also is the peep among the trees on the left, but the middle distance and , beyond is decidedly sick." The figures aro good, however, although so small, thoroughly m Chalons style, and characteristic accordingly. No. 6.The still-life picture given in the list as a "Spanish picture (artist unknown)" is a rather grand study, very impressive and real. The old red-edged books, with their leathern thongs, the hour glass, and the globe, stand out with almost stereoscopic effect. We have a recollection of a picture by Caravaggia (Italian) to much the same purpose. This would be worthy of him (although not much in his style), and he was a very great artist. No. 7. —Battle-piece (Snayers): This is a very finely-painted battle-piece : the colouring" especially good, and the finish almost perfect; and yet it is not a pleasing picture. It appears as if the tight had only just begun, and there opens before us the first horror of blood, and death, and struggling horses, and trampled men, and all the beastliness and stupidity of "glorious war." There is much spirit in some portions, and a curious want of it in others. The drawing of the men is first-rate, but in our present day horses arc not made to the same pattern as they seem to have been in the old masters' times : the form in use now seems rather an improvement. The mere technique throughout the picture is very fine. No. B.—'" Chattel-ton " (J. Barker) This is a beautiful little picture ; the colouring and rhiar' otcuro very good and appropriate. There is genuine feeling in tho attitude and surroundings of the poor young poet—" the marvellous boy; the sleepless soul that perished in his pride." The air of hopeless misery is almost too painfully realised, but the entire artistic effect is irreproachable. No. 9. —" St. John ' (Gucrcmo): This is a line picture, and a good example of Guercino (the squinting fellow), whose real name was Barbieri. Whether intended for St. John or not, it is an excellent study. The flesh (except that there is too much of it) is grandly painted. If St. John was like this model, locusts and wild honey should be among the articles of diet proscribed by Banting. This fellow would require to go into three months' training; he is so much "out of form." The picture is much in the style of Caravaggio, for whom Guercino had the highest admiration. No. 10. "Welsh BicknorChurch " (Watts): This is a very delightful landscape—warm and brilliant in the glorious light of summer. The ferry boat, and the lustrous water are excellent in every respect; while the air of peacefulncss, yet with no sense of dullness, but rather of delicious enjoyment of life, makes this a most attractive landscape. It is a really valuable example of the British school.

No. 11. " River and Ferry Boat" (Albert Kuyp) : This is a fine example of a great artist. The soft and peaceful air of the summer evening is very finely* indicated. There is great calmhardly stir of air sufficient to help the ponderous boat along. The passengers, however, appear to be of the kind who are seldom in any particular hurry, and appear all content enough, although it is what the spirit of the present day " couldn't stand at any price." The group on board is inimitable; but the whole work will bear the closest examination, and will be found, both in artistic quality and in general meaning, thoroughly interesting. It bears the impress of perfect truth. No. 12. "A Saint" (Macrino d'Alba): A very curious old picture this. Can it be our own " Saint George of Merry England"—not the rascally bacon dealer, nut tne glorious martyr (see Emerson first and Raskin afterwards) who is here depicted? It is really finefilled with the air of a different time in the life of man from what we know now. Painted about the end of the fifteenth or beginning of the sixteenth century—nearly four hundred years ago—the effect is excellent and telling even yet. The curious exaggeration of the drawing "may be remarked : the figure stands well, but the absurd tenuity of the feet gives it a somewhat tottering asnect. Was this supposed, even in those old days, to indicate refinement? It is we know, at this day a foolish idea of fashion that small feet are necessarly elegant; but the ancient sculptors knew better. Look at the " Medici Venus," or the " Draping Diana:" in these we have the highest oeauty, with no suspicion of weakness. D'Aloa's picture deserves attention ; it is very quaint and interesting. Has that indistinct circle round the head been a nimbus, or only some kind of broad bonnet? The latter would seem to be more appropriate to such a jolly, goodhumoured face. No. 13.—"The Holy Family" (Raffaelle): This is perhaps the most remarkable picture in the whole collection. It appears impossible to doubt that it is a genuine work from the great painter's own hand; well preserved, as it deserves to be, yet showing something of the fading away, or saddening down, put on by relentless time. In Italy it is quite an occupation for poor artists to keep up a supply of copies from tho works of the old Italian masters (and especially of Raffaelle) for sale to visitors. A very excellent copy of Raffaelle's "Madonna dclla Seggiola, from the original in the bedroom of the Gran Duea,in Florence, was brought from thence some years ago by Mrs. Dr. James Wallis, who has it here in Auckland now. In it can be seen the imitating of the touch of the great master, but without any attempt to deceive by imitating age ; and the original of the style is exactly what we find in Sir George's picture. The latter presents the best of Raffaelle's characteristics—delicacy of drawing, utmost refinement of feeling, and grandest artistic effect. If it be really an original—such a thing being so excessively difficult to obtain now-a-days—this little picture must be of almost priceless value. No. 14.—"Battle of the Amazons." Is this picture by F. Franck"the second?" It is worthy of him, at all events. The amount of work in this small superficies is absolutely astounding, and the finish is as perfect as in a miniature on ivory. There is immense spirit in the action of the combatants, and the enormous amount of desperate fighting going on is almost overwhelming. Some portions of the painting, notably a warrior in half-shadow, to the left, and another nearly in the middle of the picture, are masterly in the extreme. One puzzling matter is in the wounded Amazons on the right. How did they come to be stript almost mother-naked in the scrimmage? The picture altogether deserves intent study, for it is in every respect ivondcrful. No. 15.-"Cow's Head" (Kobell). Well painted and true to nature. The process (?) m the skull from which the horns project seems to be rather too highly raised above the rest of the head, but the fault is not obtrusive. No. 16.—" Classical Landscape" (G. Povissin): Why this is called a "Classical Landscape" does not seem clear. It is merely a very beautiful, quite exquisitely natural, landscape, by a great painter. It is very valuable, as a study of the style of landscape work in Poussin's time. No. 17. —"Interior of a Cathedral" (Stocklein): This is an exquisite little painting; the architectural details worked out with a care and directness worthy of Pannini himself. The effect, looking down the long vista, is delightful. Nos. 18 and 19.—"Bacchanals" (Amiconi) • Two pleasantly coloured pictures, with a number of very juvenile (infant) bacchanals disporting. There is a great deal of good work shown: but as regards the children, such a lot of ugly brats surely never were seen all in one day. No. 20. *- il The Holy Family" (Sir Joshua Reynolds): This is a copy, in cabinet size, of a rather celebrated picture by Sir Joshua,

In the original the colouring is of great richness and depth, and the light and shade arranged in the most masterly way. Some of these characteristics are recognisable here; but the copy is of a coarse nature, and much of the fine play of light is merely left out altogether. Reynolds was too facile in being porsuaded to try the effect of almost any vehicle" which might be proposed, to the terrible detriment of many a fine picture. In the original of this the colours appear in some portions to have in some strange way effloresced, and, of_ course, the copyist could do no more than imitate the damaged portions. The ensemble of the original is very fine, and this small copy, rough as it is, gives a fair idea of it.

No. 21. "Head of tho Virgin" (Murillo): There is surely something wrong here. We can detect no touch of tho great Spaniard in this; and much we fearsome impious botcher has been trying his hand at " restoration." No. 22. "Christ Mocked" (Velasquez) Here again we have something rather doubtful. Tho composition may bo well enough, but we can trace no look of Velasquez in the picture. Tho drawing is not of the best, e.g., tho hands (of a merely conventional type) ana the deltoid, notched in the most hideous and unnatural way ;— drawing, Velasquez was seldom at fault. In this picture the colour has departed, leaving only grey and darker grey, and brown, so wo can form no judgment from that. Velasquez's colour is always fine. The picture altogether is by no means attractive.

Nos. 23 and 24. — "St. Sebastian" and Female Saint" (early German): In both pictures the work is exquisite, but the designs are curiously formal, almost to stiffness. In tho "St. Sebastian" it seems strange to soo so many arrows sticking in a man's body, and no appearance whatever of blood; but perhaps that is where some miraclo was supposed to "come in." Wonderful finishdrawing conventional. No. 25.—" Spanish landscape, with Mill. Ac." (artist unknown): A very pleasing small picture; the look-out, from the cool shadow of the arches, to the mill standing "ata white heat" in the sun, is excellent. In addition to these twenty-five pictures there is a portrait of Sir George Grey by Richmond. It is a fine example of George Richmond's crayon work. In that branch of art ho was facile princtps. For clearness, delicacy of touch, and masterly power in cross-hatching ; for precision and decision in every line, ho was unsurpassed. His drawings fitted splendidly to the hand of the engraver ; some of the plates by such men as Holl or Robinson being of wonderful beauty and effect. Can it be, in the present instance, that the toned paper has become darker, to bring about that seemingly too heavy inhatching of white upon tho forehead? We cannot recall a similar effect in any drawing of Richmond's wo have seen before, and can only imagine that it may have been caused by damp, or exposure to somo malign atmospheric influence, valde deftndum. Among the pictures on loan, we observe a very fine example of Backhuysen, " Ship and Sea," in his best - and most characteristic style. Two excellent pictures—one of a cow, the other of a horse, bv Keyto, and one—of that atrocious subject, the "Massacre of the Innocents," which is actually at it Rubens aut diaboltt.l. Rubens was most in his clement in very large canvases, but if this, small as it is, is not Rubens' own work, then it is the most wonderful copy of any picturo we have ever seen. Another picture, close by, supnosed to be by Rubens, might just as well nave been attributed to Zouxis.

We must direct attention also to Mr. Albin Martin's excellent Turnoresque landscapes— well-painted pictures of well-chosen subjects. Mr. Drummond's fine picture of the Hunua Ranges is also here; and three excellent works by Mr. Wright, one of which—arOughish sea breaking upon a rocky shore— one of the most successful realisations of a difficult subject wo have seen for a long while. There are several other interesting works of art on exhibition, most of which have been noticed before; and wo may now conclude by warmly congratulating the citizens of Auckland upon the highly enjoyable collection of paintings with which their Art Gallery begins its career