IRIS AND HER TRAIN. PAINTED BY HENRY HOWARD, R. A. THE Compositions by this artist are of a character so remote from the general pursuits of modern study, and so powerfully addressed, as we should have supposed to those, who affect to feel nothing short of that classic purity, which is preached up as the acme of art in a certain circle, that we cannot but express our surprise that the few poetic emanations of his elegant pencil, which have been thus submitted to the cognoscenti, should have remained on the walls of a public gallery, one single day, unsold. We must reiterate our old complaint, and ask those, who spare their thousands in collecting specimens of ancient paintings, whether this picture, and the splendid composition from Comus, have not a claim upon their consideration, and of all those, indeed, who are looked up to as the patrons of art? If efforts like these are neglected, then shall we be prepared to expect that the sphere of the higher regions of art will be left a tenantless void, into which genius will never again aspire to wing her flight. We do not maintain that the executive part of this composition is faultless. There is a want of ærial purity in the clouds, and the celestial ark is not sufficiently divested of materiality: but these are defects that are within the scope of alteration and improvement, without the risk of injuring the group, Taken as a composition abstractedly, it is one of the most chaste and elegant poetic imaginations that we have seen personified upon canvas; and when we reflect that Mr. Howard is compelled, from the state of public taste, to devote almost the whole of his time to the study of portraiture, we are disposed to admire its beauties, rather than to dwell upon its imperfections. It is a picture that would grace any gallery. We have hitherto said nothing of the contributions to this collection, from the ingenious pencils of the ladies. Mrs. Carpenter, however, has made but little exertion for this season. The head of a Bacchante, and a Cupid, are all we have to notice, and they are not equal, by some degrees, to that scale of merit which some of her more studied works induced the goddess of taste to assign to her accomplished hand. Of the talent of Miss Gouldsmith, we on this occasion must be content almost to speak upon her acquired reputation; for the landscapes from her intelligent pencil, such has been the gallantry of the committee, are mounted too high for the sphere of critical enquiry. We, however, by || stooping to one, in the middle room, which would have better filled a better place, saw enough to satisfy us that Miss Gouldsmith continues to look at nature with her own eyes, and that she has a hand to represent under their influence, what constitutes the true sentiment of landscape:|| unaffected truth, simplicity of effect, and that sober hue which is only appreciated by the connoisseur. We speak of No. 161, a View near Bristol," which is painted with that cultivated feeling, which can only result from an attentive observation of the pictorial attributes of a real scene, directed by a genial taste for this delightful study. CATCHING THE EXPRESSION. PAINTED BY EDWARD D. LEAHY. We know not whether this admirable record of an artist's study, is that of young Edwin Landseer's, or young Edward Leahy's, as both their portraits are introduced; but, as this picture is well worthy of preservation, we can fancy some group of virtuosi, some two hundred years hence, peering through their glasses at these two old English masters. We delight to hold a morning gossip in the confusionary of a painter, up to our knees in portfolios, broken casts, lay-figures, velvet cushioned chairs, without a chair to sit upon, amidst the arcana of art. All these trophies of present study, however, will be regarded the more, anno domini two thousand and twenty-four, as they will then savour of dry antiquity. Here we have another instance of the advantage resulting from careful finishing. This apparently playful effusion of the talent of Mr. Leahy, is a work taken up in earnest. It is an excelent effort of an aspiring young artist, and its merit is acknow ledged. We are gratified to find, that a gentleman of taste has purchased this picture for the sum of one hundred guineas. Merit does not always remain unrewarded. EXHIBITION OF THE SOCIETY OF BRITISH ARTISTS, SUFFOLK STREET, PALL MALL. By favour of the Committee, we were on Monday last admitted to a private view of the Exhibition at the Gallery of the Society of British Artists. Our visit was in the midst of multifarious preparation. Carpenters hanging of massive picture frames, artists giving the finishing touch to their pictures, the committee table spread with papers, and committee men seated like the saint at the receipt of customs-the scene was highly picturesque. But there was a lengthened table, and preparations the eunto appertaining, that looked auspicious. It was a banquetting board. That institution must surely succeed, that commences with a feast. We had the honor to be bidden to the banquet, and regretted that we could not attend. Hence, whatever civil saws we may utter, will not result from that improved temper which Englishmen are wont to experience hen "with good capon lined." We were struck on entrance with the spacious apartment in the centre of the building-it is a magnificent exhibition room. The other apartments are well proportioned, and all are sufficiently lighted. It appears there is together a length of wall, for displaying works of art, to the extent of six hundred feet. How so vast a space could be covered with the productions of one year, considering the multitude of works consigned to Somerset House, the British Institution, the Water Colour Society, &c. &c. could not but excite our surprise. Our view of the display was but cursory. We however shall describe, to the best of our memory, what particularly arrested our attention. There is a stupendous architectural composition by Martin, taken from the seventh Plague in Egypt. It is awfully sublime, and the most magnificent personification of the dread subject that painter ever conceived. It is a picture of great pathos. There is a Cattle piece, by Burnett, brilliant in effect, and of intense depth of colour. It is a very masterly performance, and we cannot but regret, that so improving a painter should divide his mind with the pursuits of engraving. A composition by Richter, of a Widow throwing off her Weeds, will attract general notice. The subject is well conceived, and it will be felt. On looking at this piece, we recollected a story in point. A portly dame of forty, walking in her weeds at Hackney, was met by some Sunday bucks, who in passing, rudely observed,There's a shop to let."-"You mistake, gentlemen," said the witty lady," the shop is let, only the bill is not yet taken down." There is a lively composition by Reppingille, a provincial artist, with which we were particularly amused. EXAMIN ING A WITNESS. The scene represents a county sessions, crowded with character. This, too, will tell. There are several interesting topographical subjects, many excellent landscape compositions, by Hoffland, Glover, Linton, Vincent, Stark, Naysmith, and by others, whose names or reputation until now, were to us unknown. Nurseries for art, are fast spreading in almost all our provincial towns. 66 rious branches of painting (in oil and water-colours), sculpture, architecture, and engraving, at the period when the tasteful and opulent are usually resident in the metropolis, viz. during the months of April, May, June, and July. The regulations are upon the most liberal principles. All artists of merit in the empire have an opportunity of displaying their works, so as to be fairly seen and appreciated by the public, and they are also eligible as members of the Society. The gallery, which is entered by a handsome Doric façade, in Suffolk-street, Pall-Mall East, consists of a adapted to the various departments of art." Two rooms are appropriated to paintings in oil. One to water colour painting, one to sculpture, and what we were gratified to find, one exclusively for the exhibiting of engravings. This room, perhaps from the novelty of the exhibition, particularly arrested our attention. When we consider that our principal knowledge of the greatest works of Michael Angelo, Raffaele, Leonardo da Vinci, and other mighty luminaries of painting, is derived from the beauti-suite of six rooms, well proportioned, and severally ful translations furnished us by the engravers, we have constantly regretted the unmerited neglect which they have experienced, in not having their meritorious labour fairly exhibited to the public, that they might participate in the honors due to their department of art. In this interesting division of the exhibition, we were struck with some extraordinary mezzotinto prints, scraped by Martin, and as we understood, designed as he worked on the copper. One, the Almighty creating Light, and dividing the Day from the Night, is a wonderful trait of his imagination. There are some small pieces too of his-ancient cities-which are replete with invention. A fine collection of proofs, engraved in mezzotinto on steel, in small, from the works of Sir Joshua Reynolds, are calcographic gems. There is the Puck, on the size of a card, which is an incomparable specimen of this new process. It is not inferior to the hand of Sir Joshua. These are by S. W. Reynolds. Of topographical engraving in the line manner, by the Cookes, the Le Keux's, Pye," and others of the present school, there is a proud display of original talent. In the department of water-colour drawing, we did not perceive much of a superior character. The sculpture room, however, has much to attract, particularly in the wo ks of young artists. The group of the "Finding of Moses," by Scoular, is elegant, original, and graceful in every view. The varieties of the figures, as we walked round, afforded us much delight. Briseis separated from Achilles, is a group of much classic beauty. It is by Henning, Jun. A beautiful group, Mary Magdalen anointing Christ's Feet, is by the younger Rossi. There is an impressive statue (in small) of the late venerable President of the Royal Academy, which is a study, we believe, for a monument to be erected in St. Paul's. The likeness is faithful, and the expression reminds us of that of this great artist. There is also a most interesting work in miniature by the elder Henning. The whole of the groups that formed the frieze and the metopes of the celebrated Parthenon, copied from the Elgin marbles, and restored, with great taste and skill. This work, perhaps, is more beautiful than any collection of miniature models in the world. We intend to notice the various productions in this exhibition in our next. For the present we shall only add that the members have our sincere wishes for the prosperity of their undertaking. Prefixed to their catalogue, the members of the Society inform the Public, that RECENT PUBLICATIONS ON ART. Museum Worsleyanum; or, A Collection of Antique Basso Relievos, Bustos, Statues and Gems, with Views in the Levant. London: Septimus Prowett. Imperial 4to. To relish the almost super-human efforts of Greek art, is an acquired taste. The sublime pathos, the chaste grace, the dignified sentiment of classic sculpture, are qualities as much above the sensual comprehension of the plodding commercialists, and the grovelling sons of wealth, as the beautiful properties of colours to the blind, or of sweet sounds to the deaf. Yet, shall these purse-proud upstarts speak with commanding voice, frown with haughty brow, and question among their vulgar fraternity, whether a man of science is worthy of a neighbourly salutation. To such, the work before us of course is not addressed, nor any other subject of taste; for to the aggregate of this class of self-sufficiency and ignorance, which engrosses so preposterous a share of the wealth of the empire, it would be as vain to submit a fine picture or a statue, as to the people of Timbuctoo, or the Ashantees. It was well observed by Mr. Burke, that you might discover on entering the apartments of a fine house, whether the proprietor was a gentleman of taste, or a mere man of wealth, by the furniture of the walls. Doubtless this would be a safer test, than by feeling the undulations on the cranium of a virtuoso, or the bumps on the skull of an alderman. But the modern fine house is barren of works of art, because such things are not the mode with modern fine ladies. "Lord! my Lady Mayoress," said a portly Alderman's lady, at a Lady Sheriff's dejeune a la fourchette, nobody of any condition thinks of hanging pictures in their apartments."-"O! never, unquestionably, my lady," responded my Lady Mayoress, it spoils the paper-it is quite vulgar." Humph! who told you that?" said Sir Baalam. (The gentlemen, be it known, were half of them knights, their wives, my ladies, of course.) Why, when we went up with the address to Carlton House, all the rooms were filled with picters!" 66 It is amusing to mark these polite ladies at their card parties, and their routs, affecting a knowledge of what is doing in that sphere, where neither themselves nor the knights, their spouses, are ever admitted. Yes, amusing, and ridiculous enough, to affect familiarity as they do, with names and titles, picked up from the columns of the Morning Herald or the Morning Post! What a delectable sub actual lords and real ladies. But, as the philosopher observed, what will it avail you in attempting to cut blocks with razors! "The great increase in the number of artists since the foundation of the Royal Academy by our late revered monarch, having rendered the rooms of that valuable national school inadequate as a place of exhibition for the numerous works of art annually sent for that purpose; and the Bri-ject this for a farce-what a subject too for quizzing among tish Institution (the only public place of sale) closing its exhibitions of modern art early in April, in order to diffuse a more general taste for the fine arts by an annual display of the best works of the old masters; a large body of artists have been induced, under these circumstances, to form themselves into a Society for an erection of an extensive gallery for the Annual Exhibition and Sale of the Works of Living Artists of the United Kingdom, in the va There are some great commercialists, however, whose munificence is only inferior to their wealth. Such are known to fame, and honoured and respected accordingly. Their liberality is recorded on the archives of the British Institution, and their taste displayed on the walls of their man sions. The patronage of such is a stay to science and to art. To the enlightened, then, this Museum Worsleyanum, is particularly addressed, and as the copies of this work are limited to a very prescribed number, we doubt not but enough purchasers may be found to remunerate the publisher for the expense of this beautiful edition. Few gentlemen of classic pursuits, of ample means, it might be presumed, would neglect to add so elegant a publication to their library. It is publishing in parts, and the first number is sufficient earnest of the general excellence of the undertaking. The plates are uniformly good, and the subscribers incur no risk in patronising the book, as their merit has long been acknowledged by the cognoscenti: for the work was projected by Sir Richard Worsley, the drawings made by celebrated artists, and the engravings executed from them, under the inspection of the Baronet, at a vast expense; and the copies which were printed were but few, and these were presented to Sir Richard's friends. This, then, is a splendid republication of a scarce work of established reputation. The plan of bringing the work before the public in parts is judicious, for there are many who have a highly cultivated taste for art, whose fortunes are too circumscribed to permit in the indulgence of expensive books, but by thus sparing the necessary sum for their purchase, by periodical instalments. We fervently wish a greater proportion of the enlightened were rich, and that an equal proportion of the rich were wise; then, indeed, should we live in an age, when moral distinctions would be much better constituted. impressions, £2 2s. Only two hundred and fifty copies The 2nd. Ten bustos and Hermæ, found in the ruins of The 3d. Group of Bacchus and Acratus, and eleven other Egyptian and Greek statues. The 4th. Twenty-nine plates of antique gems, collected at Rome, Athens, Egypt, and Constantinople. The 5th. Forty-three plates in alto and basso relievo, from the metopes and frieze in the Temple of Minerva (the Parthenon) at Athens. The 6th. Views and ruins of ancient buildings in the Levant and Lesser Tartary. The engravings in the line manner are highly finished, and correct representations of these magnificent remains of early sculpture, and the descriptions are particularly interesting, as they display extensive research in the remote history of these classic regions. Such a work cannot fail to delight the scholar, the artist, and every one who is sussceptible of feeling what is sublime or beautiful in ancient art. The history of these sculptures is from the pen of the celebrated Visconti. The typographical part is very beautiful, and the work when completed will form a splendid addition to the classical library. We are happy to hear that a great proportion of the copies are already subscribed for. A publication of this importance merits such patronage. The Works of ANTONIO CANOVA. Engraved in Outline by which this elegant little publication commenced, has been He that gives away a fine work, will find no lack of customers, whilst he that has the same commodity to sell, need not fear a too crowded mart. The high reputation of this work, however, is an exception to common custom, for we have the pleasure to know, that the greater part of the large paper copies of the Museum Worsleyanum were subscribed for within a few days after the appearance of this first part. So far so good. Public taste is obviously im-tronage. This work, we believe, is now nearly completed; proving, and we feel most happy to observe, that to collect fine specimens of engravings is again becoming the vogue. Such pursuits belong to an enlightened age, particularly under the benignant influence of a reign of peace. The late Sir Richard Worsley thus introduced the ject of his work: when it is ended, we feel confident that the subscribers publisher, and to Mr. Moses the engraver, whose reputawill think with us, that it is creditable to the projector, the sub-fail to receive augmentation. We repeat, that we know of tion for these additional proofs of his peculiar talent cannot no work wherein classic elegance, utility, and cheapness are equally combined, as in these numbers, which will form a valuable volume of studies for a thousand ornamental purposes, to which the ingenuity of the rising generation of well educated females may apply them by skilful adapta "Impelled by a love of the fine arts, and anxious to view the celebrated remains of sculpture when it was carried to the highest perfection by the most elegant nation in the universe, the Greeks, I determined to visit Athens, where I arrived early in the spring of the year 1785. The view of the temple of Minerva in the Acropolis, was alone sufficient to obliterate the difficulties of the journey-the beauty and magnificence of that edifice on the closest examination, surpassed even my most sanguine expectations. "After having employed two years in visiting the antiquities of Greece, her islands, colonies in Asia Minor, Egypt, Constantinople, and Lesser Tartary, I returned to Rome, where listening to the earnest solicitations of some literary friends, with whom I lived in the habits of the closest friendship, engravings were made by the best artists of a considerable number of antique monuments collected in the course of my extensive tour. The curious, it is presumed, will be pleased to find several new subjects for their investigation in this collection, and the artists gratified with specimens of ancient sculpture at the most flourishing period of its existence, when Pericles and Phidias united their extraordinary talents in adorning Athens." This work will be published in twelve monthly parts, forming two imperial 4to. volumes, each part, El 1s. Proof tion. THE designs of Retch are little known in this country; yet those few that have reached us are so truly congenial to the picturesque spirit of romance, that we may class them for imagination, and invention with poetry. We had scarcely conceived that so much character, sentiment, and expression were within the scope of a simple outline until we saw the illustrations of Faust, by the ingenious hand of this German artist. The highest compliment to talent is that which is derived from the approbation of professors. We know that the artists of England were the first to applaud the taste displayed in that novel work, and the know ledge of that approbation at once stamped the reputation of its author. The plates were copied by Mr. Moses, and published in England. It rarely happens that a copy is not deficient in many traits, which an original alone can pos sess. The imitations however of that series of outlines by Moses, were less exceptionable on comparison with their prototype, than could be believed by those who have not compared them. They were admitted by the most fastidious to be as nearly fac similes as art could make them. Of this present work, we cannot speak to this point but from report: but we are informed, on authority which we are not willing to dispute, that these outlines are copied with equal fidelity. The story of Fridolin is picturesque. The lady of Saverne, who is beautiful, pious, and chaste, has a page named Fridolin. This virtuous youth is devoted to his mistress, who regards him almost with maternal fondness. He is set above her household, and excites the envy of the huntsman of the lord of Saverne, her husband. This man, another Iago, named Robert, excites the jealousy of his master against the page, and being wrought upon, he meditates the destruction of the youth. In the forest on his demesne is an iron forge. The forgemen are described as remorseless ministers of the lord's vengeance. He rides to the forge and engages them to thrust the messenger whom he shall send, who shall ask, "the lord's hest have ye followed" into the burning furnace. The youth is then sent by the huntsman to meet his fate. But ere he departs, he asks his mistress if he can do aught for her on his way. The lady desires him to call at the church, and at the holy mass offer up a prayer for her sick infant. The youth too is pious-he hies him to the church, is detained by the priest to assist at the altar. The lord of Saverne, impatient for news of his fate, sends his huntsman to enquire at the forge, when the iron-hearted forgemen thrust him into the furnace. The youth returns, his master discovers that the traitor is punished for his wickedness, considers the event as a special interposition of heaven, takes the page into favour, and the story ends thus, morally happy. Plate 1, describes the page kissing the hand of the lady of Saverne, the huntsman significantly watching. Her figure is graceful, and her countenance full of sweetness and benignity. Plate 2, the huntsman exciting his lord's jealousy. The story is well told, the scene truly romantic. Plate 3, the Page receiving instructions from the Lady of Saverne, to go to the mass. men. Plate 4, the Lord of Saverne's interview with the ForgeWe are sorry that the subjects had not been reduced to the size of the plates in Faust. Good taste would seem to prescribe established limits to the dimensions of these figures in outline. The scale of the illustrations of that work, appeared to be acceptable to all; and we feel satisfied that the expression might have been still preserved within the same space. They would have bound uniformly too, which, as we should hope to see more illustrations by the same parties, would be desirable. The grace and beauty of the Lady of Saverne is well sustained in each plate. Her lord, too, is a well conceived character. The procession returning from the hunt is an excellent episode to plate II. These outlines are executed with the usual clearness and spirit of the hand of this artist. We have received the second and last number of this work too late for notice. Skelton's Engraved Illustrations of the Antiquities of Oxfordshire. With Descriptive Historical Notices. Oxford: J. Skelton. THE work entitled "Oxonia Antiqua Restaurata," published by Mr. Skelton, was too interesting to the members of the university, to the antiquary, and the general collector of topography, to leave the ingenious projector doubtful of its success, even on the appearance of the first part. That publication being completed, Mr. Skelton has commenced another work, which we are happy to see, from the number of distinguished names already on his subscriptionlist, promises an equally auspicious termination to this new labour. The publisher proposes to give in this work, a series of fifty plates, engraved by himself, in the Line Manner, from original drawings by Mr. F. Mackensie, taken from the general architectural remains of Oxfordshire, accompanied by descriptive letter-press, in which will be embodied a great mass of original information, from the pen of a member of the university. From the specimen before us, we may venture to say, that this part of the work will form a very interesting addenda to what has already been gathered by the industry and research of various writers, from the curious store house of antiquity. The long collegiate residence of the writer too, in the university of Oxford, affords facilities for research, which alone can enrich a county work with that local knowledge, without which, too many of our county histories, improperly so called, are at best, but mere garbled compilations; which afford little information, and less interest to the true antiquary. We know not whom we could name more competent to the pictorial department of this work than Mr. Mackensie, whose views, exterior and interior, of the colleges in the University of Oxford, made for "The History of the University," published by Mr. Ackermann, are to be numbered among the most beautiful and correct specimens of topographical art in water colours, that have emanated from the English school. We cannot, then, but heartily congratulate the enlightened members of the university, so many of whose names we see upon the list, for thus supporting the ingenious Mr. Skelton in this undertaking. For, to use the words of the prospectus as, "Time is continually removing from our view the nicer traceries of art, which are left to us as specimens of the genius and taste of our ancestors, and which, in the districts of Oxfordshire, have never been collectively engraved; we are, therefore, anxious to preserve the resemblances of such relics, in duty to the memory of the dead, and as memorials of their charity, their piety, and their general talents." These are sentiments which we approve. Would, that they had been more generally felt heretofore by the learned members of the university-then had a thousand spoliations been spared, which perpetrated under the sanction of schoolmen, would have disgraced the Goths and Huns. Oxford, as all the world can tell, abounds with the finest examples of our national ecclesiastical architecture, the scientific labours of the priests of olden times. To whom could the guardianship of such pious structures appear so well consigned, as to their holy successors? yet, from age to age, have these suffered sacrilegious hands to alter, mutilate, and spoil-yea, to destroy what the congregated talent of these, or succeeding ages, could never restore. We trust, the present age will not be amenable to this reproach. We not only deprecate the pulling down the least of these remnants of old English architecture, but hold it a perversion of taste, with all our respect for Greek art, to allow any new structure to be erected within the sacred site of this university, but in the gothic style! This first number contains.-View of Stanton Harcourt Church, with Pope's Tower, and ancient kitchen. The Spencer Aisle, in Yarnton Church. A Vignette of some old mansion (name not inserted.) A Vignette of a curious Chimney, a relic of the ancient Manor House at Woodstock. Of the merits of the plates, we shall speak in a future paper on the present state of topographical engraving. We recommend this very interesting work to the collectors of topographical publications. LITHOGRAPHY. THE love of novelty, it is well known, is too often gratified at the expence of good taste. The trash that is constantly issuing from the graphic press, to gratify the restless general desire for something new, bears down all opposition, and will continue so to do as long as Fashion is led by Folly-until, indeed, that the arbiters of taste are competent to their office, and that some accepted code be established, by which the public judgment may be led to discriminate what is really art, in contra-distinction to what is so miscalled. The lithographic press has promulgated as large a provortion of graphic rubbish, as any new invention that could be named. Indeed, so much that is worthless, not to say execrable, is of lithographic manufacture, that the mention of engraving on stone had almost become disgusting to the ear of connoisseurship. The celebrated Felix Calvert, the brewer of entire, an acknowledged judge of "horse flesh," used to say, that "a good horse was of any colour." So with regard to art, a true connoisseur will aver, that a clever work is of any style. It is not the trade which makes the man, but the man that makes the trade. We could proceed with adages as long, and as near to the mark, perhaps, as the Governor of Barrataria, were we not upon the subject of taste. One more comparison, and we have done. Lithography, like a fiddle, is a vile instrument in unskilful hands. We can speak of experience, after twenty years practice. Yet, what is not the capacity of this little four stringed instrument in the hands of a Spagnoletti? So with lithography-it is nothing, but under the chalk of a master. Had such an invention existed in the days of Michael Angelo, or Rubens, or Rembrandt, we then should have known more of the inspiration of these great geniuses -such as we beheld in Mr. Cooke's gallery on our recent visit in Soho-square. We forgot to mention the sketches of the old masters in that choice collection. It is true that we had seen some specimens of lithographic engraving, by certain members of the French school, that were masterly productions, particularly a subject of an English mail-coach, on the full gallop, by Vernet, nephew of the celebrated French marine painter of that name, which is a spirited and excellent performance. We had also seen some German works, by this process, of considerable merit. In England, however, we had beheld little f om among the many who had essayed an experiment, that was of value. It was taken up by our artists as a sort of graphic play-thing, and thought of no more. We remember that the discovery was held of so little value, that the patentee could not find a purchaser for the secret of printing, and the art lithographic in England became a dead letter in art. It was first brought hither by M. Andre, a German. Stones were provided by that gentleman for any artist of reputation who chose to try its capacities. The late President of the Royal Academy, and many others, contributed a plate gratuitously to the ingenious foreigner. Some folio numbers of impressions from their sketches were published. They were not approved, and the scheme failed. Mr. Vollweiler, a countryman of the patentee, purchased the secret of M. Andre. He attempted a similar publication, and that failed. It was subsequently revived, and became, in various hands, a machine for the wholesale manufacture of trumpery. odium under which it had sunk. It is now revived, and its claims to the notice of the collector of taste, is acknowledged by the general approbation with which this work is received, and by the sale of the numbers already published. In these, Mr. Ward has engraved the following celebrated horses, from the portraits which he has painted for the high personages to whom they respectively belong, and by their approbation and consent. 1. Adonis, the favorite charger of his late Majesty, upon which that revered sovereign reviewed the volunteers on the memorable fourth of June. 2. Monitor, the property of his Majesty. 3. Soothsayer, a celebrated race-horse, late the property of his Majesty. 4. Copenhagen, the charger that carried the Duke of Wellington on the day of Waterloo. The horse is now about twenty-three years old. 5. Primrose, a brood mare, and her foal, the property of the Duke of Grafton. 6. A Persian horse, the property of the Duke of Northumberland. 7. A Cossack horse, the property of ditto. 8. Doctor Syntax, a celebrated race-horse, who has won twenty gold cups, the property of Ralph Riddel, Esq. 9. Leopold, a celebrated race-horse, the property of John George Lambton, Esq. 10. Phantom, a celebrated race-horse, the property of Sir John Shelley, Bart. 11. Waton, a race-horse, the property of ditto. 12. Little Peggy, a mare, thirty-three inches high, from the Tibet mountains in the East Indies. This interesting work is published for the artist, by R. Ackermann, Strand. REVIEWS. Essai sur l'Histoire de la Peinture en Italie, depuis les tems les plus anciens jusqu, à nos jours. Par M. LE COMTE GREGOIRE ORLOFF, Sénat ur de l'Empire de Russie. 2 vols, 8vo. Bossange, père. Paris: 1823. In a work so much devoted as ours is to the subject of the fine arts, and more especially to the history, present state, and general principles of painting, it will not be necessary to make any apology for directing the attention of our readers to the volumes of Count Orloff. It is a work which well deserves the notice of a literary journal, whether we regard the justness and originality of its opinions, or the fidelity and extent of its research. For some time past, the public attention has been frequently called to the history and condition of the fine arts in Italy. Winckelmann's eloquent and ingenious treatises are sufficiently well known; the elaborate work of Lanzi is familiar to the student and amateur;* Mr. James's recent publication evinces a fair portion of taste, and in France several volumes have been published, of which the critics and artists speak in the language of praise. The incidental notices of the fine arts which are to be found in the pages of travellers are not worth referring At length Mr. Ward turned his thoughts to lithography, and discovering that there were capacities in the surface of stone thus prepared, transferred one of his animal paint-to; as, generally speaking, they are the shallow commonings upon a block, and produced the first of those highly places which second-rate minds love to deal in, gatherfinished, and masterly imitations of a chalk drawing, ed without study, and uttered without consideration. which he has since successfully continued, until we have The Count Orloff is not unknown to literature. He a work on animals, that is the admiration of all who can ap-is the author of a history of Naples, and of a history of preciate what is bold, original, and estimable in art. This work, alone, would have rescued lithograghy from the music, both of which have gained considerable reputa |