Massa, Portugal,' from a sketch by Charles Landseer, may also be noticed.

The next year is a blank, which may be set down to absence on a tour in Spain; for in 1834 we find recorded at the British Artists, a view of 'The Geralda, Seville,' painted at Seville; and in the next year the artist again made his appearance at the Academy with his 'Cathedral of Burgos,' a picture which established his reputation. This work was, with instinctive appreciation, immediately acquired by Mr. Vernon, and now forms part of the National Collection. David Roberts now ceased to be a member of the Society of British Artists, and only on one occasion afterwards, in 1836, exhibited there two views taken at Bordeaux and Bayonne.

Up to the year 1838 one Spanish picture annually appeared at the Academy; and then there is a blank of two years, during which the artist was prosecuting a tour in Egypt, Palestine, and Syria, whence he returned laden with artistic spoils, and was immediately afterwards, in 1839, elected an Associate. The extreme brilliancy of the exhibition of 1840, containing five important works on Eastern subjects, 'The Greek Church of the Nativity, Bethlehem;'Gate and Mosque, Grand Cairo ;' 'The Dromos at Edfou, Upper Egypt,''The Statues of Memnon,' and 'The Remains of the Lesser Temple, Baalbec,' took the admiration of the public by storm, unused as they were to see these scenes of stirring interest treated with so much breadth, grandeur, and spirit, and with such genial warmth of colouring. David Roberts became the Horace Vernet of Great Britain; and in the points in which he has approached the great French artist he has surpassed him.

Consequently in 1841 he exhibited as R.A. elect, and in the same year was elected a full Academician. In that year appeared two well-remembered works, Jerusalem from the Mount of Olives,' and 'Ruins of Baalbec' (with Mount Lebanon in the distance).

For many following years a succession of paintings of the same type, averaging four in number, regularly appeared; and the vein seemed inexhaustible. A 'View of the Entrance to the Crypt, Rosslyn Chapel,' in 1843, was purchased by Mr. Sheepshanks, and is now the property of the nation, together with a Spanish scene, 'Old Buildings on the Darro, Granada.'

In 1846 appeared a grand view of 'The Temple of the Sun

at Baalbec,' with a group of camels and oriental figures in front, painted for John Davies, Esq., of Cranbrook Park, Essex, again exhibited at the International display in 1862; and in the following year the same subject, a little varied, was generously presented by the artist to "The Garrick Club," one of whose rooms it still adorns. In 1847 we find a return to Edinburgh, under the title of Mine own Romantic Town;' and in 1848 was exhibited the work painted expressly for the Vernon Collection, and now forming part of it, 'The Chancel of St. Paul, Antwerp.' The next exhibition was varied by a production which called forth a great amount of varying criticism, The Destruction of Jerusalem by the Romans.' The success of the work as a massive and spirited composition, was indisputable; but, whether or not from want of confidence in its adequacy as representing an historical event, no similar attempt has since appeared.

The years 1850 and 1851 witnessed a repetition of the Eastern and Continental scenes. In 1852 appeared the first of a long series, continued down to this very year, taken from St. Stephen's, Vienna; Venice, also, and Verona from this date begin to figure largely in the artist's compositions. In 1853 was exhibited the picture painted by command of her Majesty, representing the Inauguration of the Exhibition of 1851.'

Two years later, one so-called 'panoramic' picture of 'Rome,' of large dimensions, attracted attention alike for its vast detail, as for a brilliant gleam of sunset, lighting up the Alban Mountains. This was followed by a series of views from the same city, produced at intervals, and representing other great historical objects, The Coliseum, Forum, etc., in many of which the same conception is repeated with only slight variations. Architectural subjects, as much as any, are susceptible of being grouped in pairs. Between the Christmas Day, St. Peter's,' of 1856, and the 'Fête Day, St. Peter's,' of 1861, there is much of this correspondence. So also the Interior of Milan Cathedral,' of the present year, brings vividly to the remembrance the same subject exhibited in 1857; and the 'Baalbec' of 1861 may be compared not only with that of 1846, already referred to, but with several other repetitions in this country.

The only marked addition to the above repertory of subjects in later years are the scenes illustrative of London. A series of seven views taken at different points of the river, has been com

menced by the artist, of which three were exhibited last year, and the two views in this year's Academy Collection also, we presume, form part. The renderings of St. Paul's have always been particularly happy. This year the dome is seen under two aspects : one looking westward, a bright scene, the other eastward, a dark

one.

To pass any eulogy on the works of a painter who is living amongst us, and daily producing pictures which are the admiration of thousands, is plainly superfluous. It may be not out of place, however, to cite a few remarks on David Roberts's style, from Dr. Waagen. "It would not be easy," says the author of the ́Art Treasures,' "to instance another master who has so successfully treated the architecture of different countries, and in more various forms. Besides making himself thoroughly acquainted with the architecture of France, Spain, and the Netherlands, and that of his own country, he has pursued his studies in Egypt and Palestine. His drawings taken in the last-mentioned countries, and lithographed in a masterly way by Haghe, have gained for him a European, and more than a European reputation. choice of position these drawings display, the picturesque conception, the favourable light and shade, and the animated figures introduced,—are sufficient to account for this success. All these qualities are displayed still more favourably in his oil pictures; in addition to which they possess the charm of a powerful, transparent, and harmonious colouring, of the most effective contrasts of local colour, and of a touch which combines freedom with delicacy."

The happy

The allusion in the above passage is to that celebrated published volume, without mention of which any record of the artist's life would be incomplete. In 1842-3-4 appeared a folio entitled, 'The Holy Land, Syria, Idumæa, Arabia, Egypt, and Nubia, from drawings made on the spot by David Roberts, R.A., with historical descriptions by the Rev. George Croly, LL.D.; lithographed by L. Haghe.'

This magnificent collection of 246 subjects, of the size of the original drawings, is that by which, mainly, the fame of the artist has been extended to all quarters of the globe. It is one of the largest works of its class in existence, and in the descriptive portions contains many extracts from the artist's journal, describing the experiences of his companions and himself. In addition to the

VOL. I.

G

above, several illustrated works have appeared. At intervals from 1847 to 1854, 'Scotland Delineated in a Series of Views,' in lithograph by Harding and others, from designs by some twelve leading artists, including D. Roberts, was issued in large folio. In 1859 appeared Italy,-Classical, Historical, and Picturesque, -Illustrated in a Series of Views from Drawings,' by Stanfield, Roberts, Harding, Prout, Leitch, Brockedon, and others; also 'The Waverley Album,' illustrated with engravings from his designs amongst others. To this may be added the Album of Scottish Scenery,' published in 1860; Bulwer's 'Pilgrims of the Rhine' has been published also with illustrations from the same hand; and designs for several volumes of The Landscape Annual' were furnished by the artist.

A forcible proof of the value which is set upon David Roberts's works was furnished by the sale of Mr. Bicknell's collection, which took place in May of this year. Mr. Bicknell was connected with the artist by the marriage of their children, and had secured the following and other choice specimens of the works executed from about 1834 to 1844. The following list, taken from the 'Athenæum' of May 16, p. 651, states the prices realized for seven of the more important works, as compared with their original cost:

Cost

1. Interior of Church of St. Miguel,} £105

Xeres de Frontera

2. Tyre.

These figures speak for themselves, and describe more convincingly than words the estimation in which these masterly productions are held. In the name and works of David Roberts, not merely the Royal Academy, but the Fine Arts of Great Britain, possess one of their most admired expositors, and most brilliant

ornaments.