The idea of this experiment, for so it must be called, was surely a happy one ; and not the less seasonable, that every one who had considered the subject (at least every one who understood it), felt that it was a method which presented peculiar difficulties to some of the ablest and most distin guished of our painters, whose habitual style of treatment of their subject and efThet, had been precisely the reverse of what is required in fresco.
The application of fresco-painting, it may be observed, to the decoration ofarchitecture demands the adaptation of parts to a whole ; a preconcerted mode of treatment, in which the painting shall seem to be in union with the original design of the edifice ; the harmonious combination of many minds, working under the direction of one mind, to one purpose ; and with regard to the mechanical part of the process, it requires much thought and study in the preparation of the materials, and great care and precision, as well as great rapidity, in the execution.
The summer-house in question is very small, and is situated on an artificial mount in the gardens, overlooking the orna mental waters.
The entrance to the pavilion opens into the principal apartment, an octagon 15 feet 9 incites front side to side, and 14 feet II inches in height, to the centre of the vaulted ceiling. It is here, in eight lunettes at the lbot of the vault, that the frescos from "Comus" appear, of which tier the most part types have been exhibited in the rooms of the Royal Academy, by the respective artists. Over the entrance-dour, is Stanfield's, illustrative of the tbllowing passage • : "Yet some there be that by due steps aspire To lay their just hands (tn that golden key, That open the palace of Eternity.
To such my errand is." cones. v. 12-17.
It is admirably transparent, and exhibits more power over the material than the majority of the works. Passing round with the sun, Mr. Uwin's follows, having for motto, " This is the place as well its I may guess, Whence even now the tumult of loud mirth Was rife." Then comes Leslie: Ross follows. Eastlake's is over the mantlepiece ; .Nlaclise, Edwin Landsecr, and Dyce, complete the eight. A copy of Mr. Maelise's work was in the Academy exhibition of IS-15, and will be remembered by all. The lines illustrated are, • " If virtue feeble were, Heaven itself would stoop to her."
Maclise shows the lady spell-bound in the marble chair, and displays much of his usual power. Mr. Landseer has found in the following lines an opportunity to exhibit his great skill in depicting the brute form :— " Their human countenance Tb' express resemblance of the gods, is changed Into some brutish form of wolf or hear, Or ounce or tiger, hog or bearded goat," Comes, v. 6S-71.
Games, surrounded by his crew, is terrified by the approach of the brothers. who appear behind in the act of rushing upon them. A bacchante, with a beautiful female form, and the head of a hound, has thrown herself in affright upon the arm of Conius. Other monsters, half brute, half human, in various attitudes of mad revelry—grovelling, bestial insen sibility—confusion and terror—are seen round hint ; the pathetic, the poetical, the horrible, the grotesque, all wildly, strangely mingled. In the spandrils are two heads—a grinning ape, and a bear drinking.
Mr. Dyce winds up the illustrations witb the presentation of the lady and her two brothers to their parents, who come forth to receive them, and he has produced what must be considered the best fresco, although perhaps wanting exactly the right sentiment.
The operations of the Fine Arts Commission seem tohave been highly satisfactory to the public in general, and, in respect to fresco-painting in particular, must he viewed as eminently successful. The exhibitions in Westminster Hall presented numerous paintings in this so lotT•disused art, of a highly artistic character ; and the nuniCer of the prizes awarded, testify the great merit of the productions. The result of the preliminary competition was shown in the selection of several eminent artists to execute fresco-paintings in the new Palace of Westminster, and in the completion by those gentlemen of some of the finest pictures in this peculiar style, that have been seen since the clays of the great painters of former times.
It would extend this article beyond the limit assigned to it, to give a full description of these admirable works ; we must therefore confine ourselves to a list of the artists selected, and the subjects allotted to each for illustration.