Blackwood's Edinburgh Magazine — Volume 56, No. 346, August, 1844. Various

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           Here, stillness, height, and solemn shade

           Invite, and contemplation aid."

      We are sure that Neath Abbey is from nature, for it has the sooty and smoked character of that manufacture-ruined ruin. But we must not pass by his "Dorothea" from Don Quixote. Nothing can be more happily expressed than the deep shady retirement of the wood; there are nice gradations of shades, which is the very character of retirement, and Dorothea is herself in it, not a bright figure in a black mass—and good is the figure too, but the feet are unfinished.

      Mr Creswick is a large contributor, and least fortunate in his first: it is not the scene so well given in verse by his friend Townsend; for it is too pretty, too tight. It wants the "lane;" it is the road-side.

      "THE WAYSIDE

           "A lane, retired from noisy haunts of men,

           Whose ruts the solitary lime cart tracks,

           Whose hedge-sides, propp'd by many a mossy stone,

           Are checker'd o'er with foxglove's purple bloom,

           Or graceful fern, or snakehood's curling sheath,

           Or the wild strawberry's crimson peeping through.

           There, where it joins the far-outstretching heath,

           A lengthen'd nook presents its glassy slope,

           A couch with nature's velvet verdure clad,

           Trimm'd by the straggling sheep, and ever spread

           To rest the weary wanderer on his way.

           There, oft the ashes of the camp-fire lie,

           Marking the gipsy's chosen place of rest.

           Black roots of half-charr'd furze, and capons' bones—

           Relic of spoils from distant farmers' coop—

           Point to the revels of preceding night.

           And fancy pictures forth the swarthy group,

           Their dark eyes flashing in the ruddy glare;

           While laughter, louder after long constraint,

           From every jocund face is pealing round.

      His "Summer" is a simple unaffected scene, such as may be met with any where, if you have but "eyes to see:" and pretty much like it, but inferior—for if it be not more common in subject, it is in treatment— is the "Old Farm-House," from that delighting and most natural painter with her pen, Miss Mitford. Very exquisite in his "Moonlight"—so true, with all the quivering and blending light of nature, where all things are at once lucid and in shade—as Virgil happily expresses it, "luce sub incertâ linae." Sweet, too, and in the deep solemn repose of religious eve, is the "Village Church"—from lines by Rogers. He is not so happy in his "Smithy;" neither is the scene of interest nor the effect pleasing. But he makes up for all by his "Outward Bound." The home is left in the calmest, stillest of days; though the "outward bound" has sails, they rather wait for, than feel, the wind; there is the village church still in view, and will yet be an hour and more. The sky is, though really printers' ink, like many a sooty vapour converted into light-shedding yet faint clouds—we can see the colour—it is a grey, in which is gold and ultra-marine. The boat is conveying the "outward bound" to the vessel; there is the moving and the waiting. It is poetical. "The Castle" we do not much admire; it is a villa castle, and on no agreeable river. "Low Water" is quite another thing; it is a beautiful etching. He thus describes it with his pen—

           "The flowing tides that spread the land,

           And turn to sea again."

      The "River Scene," illustrating lines from Southey, is delicately touched, and a pleasing scene; yet we feel sure it is not from nature. Why, we can hardly tell. Is it that there is a bridge, apparently without a bank on one side to rest upon? "The Terrace," from lines by Andrew Marvel, is a most fascinating upright plate. It is perfectly true, giving all the thousand intricacies and shades of such a scene; and there is grace in the forms, and the figures well suit the whole. All is gentleness and ease; not a light is too strong, or a shadow too deep; there is no violence—which too many are apt to express when they would give powerful effect. His "Fishing Scene on the Coast of Ireland" is not to our taste, yet is it not without meaning—it is windy and sunny. "The Oriental Palace" is solemn, with its ancient yew in the silence of the crescent moon; but the ruin is to fill up, and does no good.

      We have read with pleasure, and extracted, some of Mr Townsend's poetry; let us now see his etching. "Boyhood:" those who delight in the easy, every-day, every-hour play of boyhood, will enjoy this plate. A boy is, with a peacock's feather, tickling a child asleep in the arms of a grave old lady—so sedate have we seen grimalkin look whilst encouraging her kitten, lightly and coquettishly, to play with a ball of cotton. "The Beach" is a well-sketched coast scene, and shows Mr Townsend to have an eye for nature's scenery, as well as nature's sympathies. Very good is "The Model"—an artist sketching in the figure of a Lascar. But his best plate is "Sad Tidings." It is a very sweet figure—youth, elegance, tenderness, are there—and such an even melancholy light, or rather such a mournful evenness of light and shade, that, as a whole, it is neither light nor dark, and should have no other name than melancholy. He had the judgment and forbearance to hide the face—we know it is lovely, and that is enough; it is this, in part, which separates "Sad Tidings" from such subjects as they are usually treated. There are two etchings by Frederic Tayler—"The Chase" from Somerville, and "The Auld Grey" from Burns—both are lightly etched and good; but they have not that free and certain hand which marks Mr Tayler's style in his drawings, where one wash of the brush hits off his object with great truth. "The Gypsy Boy," by Mr Knight, is very masterly in chiaroscuro, and certainly characteristic of the race. Effect of chiaroscuro seems to be his aim. It is marked in his "Old Fable" (which always means the newest) of "The Peasant and the Forest." It is thus given: "A peasant once went into an old forest of shady oaks, and humbly entreated the same to grant him a small branch to make a handle for his axe, and thereby enable him to pursue his labours at home. The forest very graciously acceded to his request, and the peasant soon formed the required handle; but presently he began to lay about him in every direction, using the very substance with which the forest had furnished him out of its own bosom, and in a short time hewed down its whole growth."

      Which are we bound most to admire—John Bell's pen or John Bell's needle? It is a difficulty. "The Devil's Webbe" is admirable in both. What a spider-like wretch is he, watching the toils that he has spread!

           "This webbe our passions be, and eke the flies

             Be we poor mortals: in the centre coyles

           Old Nick, a spider grimme, who doth devyse

             Ever to catch us in his cunning toyles.

           Look at his claws—how long they are, and hooked!

             Look at his eyes—and mark how grimme and greedie!

           Look at his horrid fangs—how sharp and crooked!

             Then keep thy distance so, I this arreede ye,

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