patronising our Native Art existed happily upon the terms of venerable
School-Dame and studious pupils, before the sickly era displacing
Exhibitions full of meaning for tricks of colour, monstrous atmospherical
vagaries that teach nothing, strange experiments on the complexion of the
human face divine--the feminine hyper-aethereally. Like the first John
Mattock, it was formerly of, and yet by dint of sturdy energy, above the
people. They learnt from it; they flocked to it thirsting and retired
from it thoughtful, with some belief of having drunk of nature in art, as
you will see the countless troops of urchins about the one cow of London,
in the Great City's Green Park.

A bequest to the nation of the best of these pictures of Old John, by a
very old Yorkshire collector, makes it milk for all time, a perpetual
contrast, and a rebuke. Compared with the portrait of Jane Mattock in her
fiery aureole of hair on the walls of the breakfast-room, it marks that
fatal period of degeneracy for us, which our critics of Literature as
well as Art are one voice in denouncing, when the complex overwhelms the
simple, and excess of signification is attempted, instead of letting
plain nature speak her uncorrupted tongue to the contemplative mind.
Degeneracy is the critical history of the Arts. Jane's hair was of a
reddish gold-inwoven cast that would, in her grandfather's epoch, have
shone unambiguously as carrots. The girl of his day thus adorned by
Nature, would have been shown wearing her ridiculous crown with some
decent sulkiness; and we should not have had her so unsparingly crowned;
the truth would have been told in a dexterous concealment--a rope of it
wound up for a bed of the tortoise-shell comb behind, and a pair of tight
cornucopias at the temples. What does our modern artist do but flare it
to right and left, lift it wavily over her forehead, revel in the
oriental superabundance, and really seem to swear we shall admire it,
against our traditions of the vegetable, as a poetical splendour. The
head of the heiress is in a Jovian shower. Marigolds are in her hand. The
whole square of canvas is like a meadow on the borders of June. It causes
blinking.

Her brother also is presented: a fine portrait of him, with clipped red
locks, in blue array, smiling, wearing the rose of briny breezes, a
telescope under his left arm, his right forefinger on a map, a view of
Spitzbergen through a cabin-window: for John had notions about the