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IRIS AND HER TRAIN. PAINTED BY HENRY HOWARD, R. A. || more, anno domini two thousand and twenty-four, as they

will then savour of dry antiquity. Here we have another The compositions by this artist are of a character so re- || instance of the advantaze rasalting from careful finishing. mote from the general pursuits of modern study, and so This apparently playiul etrusion of the talent of Mr. powerfully addressed, as we should have supposed to Leahy, is a work taken up in earnest. It is an excelient those, who affect to feel nothing short of that classic pu cfiort of an aspiring young artist, and its merit is achnowrity, which is preached up as the acmè of art in a certain | ledged. We are gratified to find, that a gentleman of taste circle, that we cannot but express our surprise that the few has purchased this picture for the sum of one hundred poetic emanations of his elegant pencil, which have been guineas. Merit does not alivays remain unrewarded. 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

EXHIBITION OF THE SOCIETY OF BRITISH paintings, whether this picture, and the splendid composi

ARTISTS, tion from Comus, have not a claim upon their consideration, and of all those, indeed, who are looked up to as the patrons

SUFFOLK STREET, PALL MALL. of art? If etforts 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 By favour of the Committee, we were on Monday last never again aspire to wing her flight.

admitted to a private view of the Exhibition at the Gallery We do not maintain that the executive part of this com of the Society of British Artists. Our visit was in the position is faultless. There is a want of ærial purity in the midst of multifarious preparation. Carpenters hanging of clouds, and the celestial ark is not sufficiently divested of | massive picture frames, artists giving the finishing touch materiality: but these are defects that are within the scope to their pictures, the cominittee table spread with papers, of alteration and improvement, without the risk of injuring and committee men seated like the saint at the receipt of the group, Taken as a composition abstractedly, it is one customs-the scene was highly picturesque. But there of the most chaste and elegant poetic imaginations that we was a lengthened table, and preparations the eunto apperhave seen personified upon canvas; and when we re taining, that looked auspicious. It was a barquetting board. flect that Mr. Howard is compelled, from the state of pub That institution must surely succeed, that commences lic taste, to devote almost the whole of his time to the with a feast. We had the honor to be bidden to the banstudy of portraiture, we are disposed to admire its beauties, quet, and regretted that we could not attend. Hence, rather than to dwell upon its imperfections. It is a picture whatever civil saws we may utter, will not result froin that wouls' grace any gallery.

that improved temper which Englishmen are wont to exWe have hitherto said nothing of the contributions to perience hen“ with good capon lined.'' this collection, from the ingenious pencils of the ladies. We were struck on entrance with the spacious apartment Mrs. Carpenter, however, has made but little exertion for in the centre of the building-it is a magnificent exhibition this season. The head of a Bacchante, and a Cupid, are room. The other apartments are well proportioned, and all we have to notice, and they are not equal, by some de- || all are s

all are sufficiently lighted. It appears there is together a grees, to that scale of merit which some of her more studied length of wall, for displaying works of art, to the extent of works induced the goddess of taste to assign to her accom six hundred feet. How so vast a space could be covered plished hand.

with the productions of one year, considering the multitude Of the talent of Miss Gouldsmith, we on this occasion of works consigned to Somerset House, the British Institumust be content almost to speak upon her acquired reputa tion, the Water Colour Society, &c. &c. could not but tion ; for the landscapes from her intelligent pencil, such has excite our surprise. been the gallantry of the committee, are mounted too Our view of the display was but cursory. We however high for the sphere of critical enquiry. We, however, by || shall describe, to the best of our memory, what particularly stooping to one, in the niiddle room, which would have better arrested onr attention. filled a better place, saw enough to satisfy us that Miss There is a stupendous architectural composition by MarGouldsmith continues to look at nature with her own eyes, tin, taken from the seventh Plague in Egypt. It is awfully and that she has a hand to represent under their

sublime, and the most magnificent personification of the ence, what constitutes the true sentiment of landscape : dread subject that painter ever conceived. It is a picture unaffected truth, simplicity of cflect, and that sober hue of great pathos. which is only appreciated by the connoisseur. We speak There is a Cattle piece, by Burnett, brilliant in fact, of No. 161, a “ View near Bristol," which is painted with and of intense depth of colour. It is a very masterly perthat cultivated feeling, which can only result from an at formance, and we cannot but regret, taat so improving a tentive observation of the pictorial attributes of a real painter should divide his mind with the pursuits of enscene, directed by a genial taste for this delightful study. raving.

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. CATCHING THE EXPRESSION. PAINTED BY EDWARD D. LEAHY.

On looking at this piece, we recollected a story in point.

A portly dame of forty, walking in her weeds at Hackney, We know not whether this admirable record of an artist's was met by some Sunday bucks, who in passing, rudely study, is that of young Edwin Landseer's, or young Ed. observed, “ There's a shop to let."-" You mistake, genward Leahy's, as both their portraits are introduced; tlemen,'' said the witty lady,“ the shop is let, only the bill but, as this picture is well worthy of preservation, we is not yet taken down. can fancy some group of virtuosi, some two hundred years There is a lively composition by Reppingille, a provincial hence, peering through their glasses at these two oll Eng artist, with which we were particularly amused. ExAMiNlish masters. We delight to hold a morning gossip in the ING A WITNESS. The scene represents a county sessions, confusionary of a painter, up to our knees in portfolios, crowded with character. This, too, will tell. broken casts, lay-figures, velvet cushioned chairs, without There are several interesting topographical subjects, a chair to sit upon, amidst the arcana of art. All these || many excellent landscape compositions, by Hortland, Glotrophies of present study, however, will be regarded the | ver, Linton, Vincent, Stark, Naysmith, and by oilers, whose names or reputation until now, were to us unknown. | rious branches of painting (in oil and water-colours), sculpNurseries for art, are fast spreading in almost all our pro- || ture, architecture, and engraving, at the period when the vincial towns.

tasteful and opulent are usually resident in the metropolis, Two rooms are appropriated to paintings in oil. One to viz. during the months of April, May, June, and July water colour painting, one to sculpture, and what we were “The regulations are upon the most liberal principles. gratified to find, one exclusively for the exhibiting of en | All artists of merit in the empire have an opportunity of disgravinus. This room, perhaps from the novelty of the playing their works, so as to be fairly seen and appreciated exhibition, particularly arrested our attention. When we | by the public, and they are also eligible as members of the consider that our principal knowledge of the greatest works | Society. The gallery, which is entered by a handsome Doof Michael Angelo, Ratlaele, Leonardo da Vinci, and other ric façade, in Suffolk-street, Pall-Mall East, consists of a mighty luminaries of painting, is derived from the beauti- ll suite of six rooms, well proportioned, and severally ful translations furnished us by the engravers, we have || adapted to the various departments of art." 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.

RECENT PUBLICATIONS ON 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 Museum Worsleyanum ; or, A Collection of Antique Basso on the copper. One, the Almighty creating Light, and

kelievos, Bustos, Statues and Gems, with l'imus in the dividing the Day from the Night, is a wonderful trait of his

Levant. London : Septimus Pruuett. Imperial 4to. imagination. There are some small pieces too of his-an- ||| cient cities-which are replete with invention.

To relish the almost super-human efforts of Greek art, A fine collection of proofs, engraved in mezzotinto on || is an acquired taste. The sublime pathos, the chraste grace steel, in small, from the works of Sir Joshua Reynolds, the dignitied sentiment of classic sculpture, are qualities as are calcographic gems. There is the Puck, on the size of much above the sensual comprehension of the plodding a card, which is an incomparable specimen of this new pro- || commercialists, and the grovelling sons of wealth, as the cess. It is not inferior to the hand of Sir Joshua. These beautiful properties of colours to the blind, or of sweet are by S. W. Reynolde.

sounds to the deal. Yet, shall these purse-proud upstarts or topographical engraving in the line manner, by the speak with commanding voice, frown with haughty brow, Cookes, the “ Le Keux's, Pye,' and others of the present

of the present and qustion among

and qu stion among their vulgar fraternity, whether a man school, there is a proud display of original talent.

of science is worthy of a neighbourly salutation. In the department of water-colour drawing, we did not | To such, the work before us of course is not addressed, perceive much of a superior character.

nor any other subject of taste; for to the aggregate of this The sculpture room, however, has much to attract, parti. Il class of self-sufliciency and ignorance, which engrosses so cularly in the wo ks of young artists. The group of the preposterous a share of the wealth of the empire, it would " Finding of Moses,” by Scoular, is elegant, original, and be as vain to subinit a fine picture or a statue, as to the graceful in every view. The varieties of the figures, as we people of Timbuctoo, or the Ashantees. walked round, afforded us much delight.

It was well observed by Mr. Burke, that you might disBriseis separated from Achilles, is a group of much cover on entering the apartments of a fine house, whether classic beauty. It is by Henning, Jun.

the proprietor was a gentleman of taste, or a mere man of A beautiful group, Mary Magdalen anointing Christ's wealth, by the furniture of the walls. Doubtless this would Feet, is by the younger Rossi.

be a safer test, than by feeling the undulations on the There is an impressive statue (in small) of the late ve cranium of a virtuoso, or the bumps on the skull of an nerable President of the Royal Academy, which is a study, alderman. But the modern fine house is barren of works we believe, for a monument to be erected in St. Paul's. Il of art, because such things are not the mode with modern The likeness is faithful, and the expression reminds us of fine ladies. that of this great artist.

“Lord ! my Lady Mayoress," said a portly Alderman's There is also a most interesting work in miniature by the lady, at a Lady Sherift's dejeune a la fourchette, 6 nobody elder Henning. The whole of the groups that forned the of any condition thinks of hanging pictures in their apartfrieze and the mrtopes of the celebrated Parthenon, co ments.'_"0! never, unquestionably, my lady,” respondpied from the Elgin marbles, and restored, with great taste ed my Lady Mayoress, “it spoils the paper-it is quite and skill. This work, perhaps, is more beautiful than any vulgar.”_" Humph! who told you that?said Sir Baalam. collection of miniature models in the world.

(The gentlemen, be it known, were hall of them knights We intend to notice the various productions in this exhi- | their wives, my ladies, of course.) “Why, when we went bition in our next. For the present we shall only add that up with the address to Carlton House, all the rooms were the members have our sincere wishes for the prosperity of filled with picters !!! their undertaking.

It is amusing to mark these polite ladies at their card Prefixed to their catalogue, the members of the Society parties, and their routs, affecting a knowledge of what is inform the Public, that

doing in that sphere, where neither themselves nor the " The great increase in the number of artists since the knights, their spouses, are ever admitted. Yes, amusing, foundation of the Royal Academy by our late revered mo- and ridiculous enough, to affect familiarity as they do, with narch, having rendered the rooms of that valuable national | names and titles, picked up from the columns of the Mornschool inadequate as a place of exhibition for the numerous ing Herald or the Morning Post! What a delectable subworks of art annually sent for that purpose; and the Bri ject this for a farce-wbat a subject too for quizzing among i tish Institution (the only public place of sale) closing its ll actual lords and real ladies. But, as the philosopher exhibitions of modern art early in April, in order to diffuse observed, what will it avail you in attempting to cut blocks a more general taste for the fine arts by an annual display | with razors! of the best works of the old masters; a large body of ar 1 There are some great commercialists, however, whose tists have b

duced under these circumstances. to 1 munificence is only inferior to their wealth. Such are known form themselves into a Society for an erection of an erten U to fame, and honoured and respected accordingly. Their sire gallery for the Annual Exhibition and Sale of the liberality is recorded on the archives of the British InstituWorks of Living Artists of the United Kingdom, in the va tion, and their taste displayed on the walls of their man

sions. The patronage of such is a stay toscience and to art. | impressions, £2 2s. Only two hundred and fifty copies Would, that there were more of these. Commerce should, I will be printed, when the publisher has pledged himself, in justice, spare a small portion of its treasure to those arts | by order of Lord Yarborough, to whom the work is dedicatand sciences, to which the manufactures of our mighty Em ed, to destroy the plates. pire are indebted for their great superiority over those of

The two volumes are divided into classes :competing nations.

The 1st. Twenty-nine plates of antique basso relievos, To the enlightened, then, this Museum Worsleyanum, is

collected at Athens or in Greece. particularly addressed, and as the copies of this work are

The 2nd. Ten bustos and Hermæ, found in the ruins of limited to a very prescribed number, we doubt not but || Prytaneum. enough purchasers may be found to remunerate the pub

The 3d. Group of Bacchus and Acratus, and eleven other lisher for the expense of this beautiful edition. Few gen

Egyptian and Greek statues. tlemen of classic pursuits, of ample means, it might be pre

The 4th. Twenty-nine plates of antique gems, collected sumed, would neglect to add so elegant a publication to

| at Rome, Athens, Egypt, and Constantinople. their library. It is publishing in parts, and the first num The 5th. Forty-three plates in alto and basso relievo, ber is sufficient earnest of the general excellence of the || from the metopes and frieze in the Temple

| from the metopes and frieze in the Temple of Minerva (the undertaking. The plates are uniformly good, and the sub-|

Parthenon) at Athens. scribers incur no risk in patronising the book, as their

The 6th. Views and ruins of ancient buildings in the merit has long beon acknowledged by the cognoscenti : for Levant and Lesser Tartary, the work was projected by Sir Richard Worsley, the draw The engravings in the line manner are highly finished, ings made by celebrated artists, and the engravings exe- || and correct representations of these magnificent remains of cuted from them, under the inspection of the Baronet, at a early sculpture, and the descriptions are particularly intevast expense; and the

the copies which were printed were but || resting, as they display extensive research in the remote few, and these were presented to Sir Richard's friends. | history of these classic regions. Such a work cannot fail to This, then, is a splendid republication of a scarce work of || delight the scholar, the artist, and every one who is pusestablished reputation.

ceptible of feeling what is sublime or beautiful in ancient The plan of bringing the work before the public in parts art. The history of these sculptures is from the pen of the is judicious, for there are many who have a highly cultivated celebrated Visconti. The typographical part is very beautaste for art, whose fortunes are too circumscribed to per tiful, and the work when completed will form a splendid mit in the indulgence of expensive books, but by thus addition to the classical library. We are happy to hear sparing the necessary sum for their purchase, by periodical that a great proportion of the copies are already subscribed instalmente,

for. A publication of this importance merits such patronWe servently wish a greater proportion of the enlightened || age. 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.

The Works of ANTONIO CANOVA. Engraved in Outline by He that gives away a fine work, will find no lack of cus

Henry Moses. London : Septimus Prowett. tomers, whilst he that has the same commodity to sell, need not fear a too crowded mart. The high reputation of this

The same grace, delicacy, and beauty of outline with work, however, is an exception to common custom, for we

which this elegant little publication commenced, has been have the pleasure to know, that the greater part of the

uniformly continued inclusively to the eighteenth number, large paper copies of the Museum Worsleyanum were sub

which is now before us. It is by thus fulfilling what is held scribed for within a few days after the appearance of this ll tation which is the best security for a cont

out in a prospectus, that a publisher establishes that repufirst part. So far so good. Public taste is obviously improving, and we feel most happy to observe, that to collect

tronage. This work, we believe, is now nearly completed; fine speciinens of engravings is again becoming the yogue.

when it is ended, we feel coufident that the subscribers Such pursuits belong to an enlightened age, particularly

will think with us, that it is creditable to the projector, the under the benignant influence of a reign of peace.

publisher, and to Mr. Moses the engraver, whose reputaThe late Sir Richard Worsley thus introduced the sub

tion for these additional proofs of his peculiar talent cannot ject of his work:

fail to receive augmentation. We repeat, that we know of “ Impelled by a love of the fine arts, and anxious to view

no work wherein classic elegance, utility, and cheapness the celebrated remains of sculpture when it was carried to

are equally combined, as in these numbers, which will form the highest perfection by the most elegant nation in the

la valuable volume of studies for a thousand ornamental universe, the Greeks, I determined to visit Athens, where

purposes, to which the ingenuity of the rising generation of I arrived early in the spring of the year 1785. The view of

| well educated females may apply them by skilful adaptathe temple of Minerva in the Acropolis, was alone suffi

tion. cient to obliterate the difficulties of the journey-the beauty and magnificence of that edifice on the closest examination, || RETCH'S Series of Outlines, Engraved by Henry Moses to surpassed even my most sanguine expectations,

illustrate " Fridolin; or, the Road to the Iron Foun" After having employed two years in visiting the anti dery," a ballad. By F. SCHILLER, with a Translation quities of Greece, her islands, colonies in Asia Minor, by J. C. Collier, Esq. Author of The Poetical DeEgypt, Constantinople, and Lesser Tartary, I returned to cumeron." Rome, where listening to the earnest solicitations of some literary friends, with whom I lived in the habits of the The designs of Retch are little known in this country; closest friendship, engravings were made by the best artists | yet those few that have reached us are so truly congenial to of a considerable number of antique monuments collected ll the picturesque spirit of romance, that we may class them in the course of my extensive tour. The curious, it is pre for imagination, and invention with poetry. We had sumed, will be pleased to find several new subjects for their scarcely conceived that so much character, sentiment, and investigation in this collection, and the artists gratified Il expression were within the scope of a simple outline until with specimens of ancient sculpture at the most flourishing I we saw the illustrations of Faust, by the ingenious hand of period of its existence, when Pericles and Phidias united || this German artist. The highest compliment to talent is their extraordinary talents in adorning Athens."

that which is derived from the approbation of professors. . This work will be published in twelve monthly parts. Il We know that the artists of England were the first to apforming two imperial 4to. volumes, each part, £l ls. 'Proofl plaud the taste displayed in that novel work, and the know

ledge of that approbation at once stamped the reputation of l of the university, to the antiquary, and the general collecity author. The plates were copied by Mr. Moses, and I tor of topography. to leave the ingenious proiector doubt published in England. It rarely happens that a copy is not || ful of its success, even on the appearance of the first part. deficient in many traits, which an original alone can pog. That publication being completed, Mr. Skelton has comsess. The imitations however of that series of outlines by menced another work, which we are happy to see, from the Moses, were less exceptionable on comparison with their number of distinguished names already on his subscriptionprototype, than could be believed by those who have not || list, promises an equally auspicious termination to this new | compared them. They were admitted by the most fayti labour. dious to be as nearly fac similes as art could make them. The publisher proposes to give in this work, a series of

of this present work, we cannot speak to this point but fifty plats, engraved by himself, in the Line Manner, from report: but we are informed, on authority which we from original drawings by Mr. F. Mackensie, taken from are not willing to dispute, that these outlines are copied the general architectural remains of Oxfordshire, accomwith equal fidelity,

panied by descriptive letter-press, in which will be emboThe story of Fridolin is picturesque. The lady of Sa I died a great mass of original information, from the pen of a verne, who is beautiful, pious, and chaste, has a page named | member of the university. From the specimen belore us, Fridolin. This virtuous youth is devoted to his mistress, || we may venture to say, that this part of the work will form who regards him almost with maternal fondness. He is set a very interesting addenda to what has already been gaabove her household, and excites the envy of the huntsman thered by the industry and research of various writers, from of the lord of Saverne, her husband. This man, another the curious store house of antiquity. The long collegiate lago, named Robert, excites the jealousy of his master residence of the writer too, in the university of Oxford, against the page, and being wrought upon, he meditates affords facilities for research, which alone can enrich a the destruction of the youth.

county work with that local knowledge, without which, too In the forest on his demesne is an iron forge. The forge- || many of our county histories, improperly so called, are at men are described as remorseless ministers of the lord's || best, but mere garbled compilations, which atlord little vengeance. He rides to the forge and engages them to | information, and less interest to the true antiquary. thrust the messenger whom he shall send, who shall ask, We know not whom we could name more competent to " the lord's hest have ye followedinto the burning furnace. the pictorial department of this work than Mr. Mackensie,

The youth is then sent by the huntsman to meet his fate. whose views, exterior and interior, of the colleges in the But ere he departs, he asks his mistress if he can do aught University of Oxford, made for " The History of the Unifor her on his way. The lady desires him to call at the versity,''published by Mr. Ackermann, are to be numbered church, and at the holy mass offer up a prayer for her sick | | among the most beautiful and correct specimens of topoinfant. The youth too is pious—he hies him to the church, || graphical art in water colours, that have emanated from is detained by the priest to assist at the altar. The lord of | the English school. We cannot, then, but heartily congraSaverne, impatient for news of his fate, sends his hunty tulate the enlightened members of the university, so many man to enquire at the forge, when the iron-hearted forge of whose names we see upon the list, for thus supporting men thrust him into the furnace. The youth returus, his ll the ingenious Mr. Skelton in this undertaking. For. to master discovers that the traitor is punished for his wick use the words of the prospectus as, “ Time is continually edness, considers the event as a special interposition of removing from our view the nicer traceries of art, which heaven, takes the page into favour, and the story ends are left to us as specimens of the genius and taste of our thus, morally happy.

ancestors, and which, in the districts of Oxfordshire, have Plate 1, describes the page kissing the hand of the lady of never been collectively engraved; we are, therefore, Saverne, the huntsman significantly watching. Her figure | anxious to preserve the resemblances of such relics, in is graceful, and her countenance full of sweetness and be duty to the memory of the dead, and as memorials of their nignity.

charity, their piety, and their general talents.” Plate 2, the huntsman exciting his lord's jealousy. The These are sentiments which we approve. Would, that story is well told, the scene truly romantic

they had been more generally felt heretofore by the learned Plate 3, the Page receiving instructions from the Lady of members of the university-then had a thousand spoliaSaverne, to go to the mass.

tions been spared, which perpetrated under the sanction Plate 4, the Lord of Saverne's interview with the Forge of schoolmen, would have disgraced the Goths and fluns. men.

Oxford, as all the world can tell, abounds with the finest We are sorry that the subjects had not been reduced to examples of our national ecclesiastical architecture, the the size of the plates in Faust. Good taste would seem to scientific labours of the priests of olden times. To whom prescribe established limits to the dimensions of these could the guardianship of such pious structures appear so figures in outline. The scale of the illustrations of that well consigned, as to their holy successors? yet, from work, appeared to be acceptable to all; and we feel satisfied | age to age, have these suffered sacrilegious hands to alter, that the expression might have been still preserved within mutilate, and spoil-yea, to destroy what the congregated the same space. They would have bound uniformly too, talent of these, or succeeding ages, could never restore. which, as we should hope to see more illustrations by the We trust, the present age will not be amenable to this resame parties, would be desirable.

proach. We not only deprecate the pulling down the least The grace and beauty of the Lady of Saverne is well sug- ll of these remnants of old English architecture, but hold it tained in each plate. Her lord, too, is a well conceived a perversion of taste, with all our respect for Greek art, to character. The procession returning from the hunt is an allow any new structure to be erected within the sacred site excellent episode to plate II. These outlines are executed || of this university, but in the gothic style ! with the usual clearness and spirit of the hand of this artist. I This first number contains.-View of Stanton Harcourt

We have received the second and last number of this || Church, with Pope's Tower, and ancient kitchen. work too late for notice.

The Spencer Aisle, in Yarnton Church.

A Vignette of some old mansion (name not inserted.) Skelton's Engraved Illustrations of the Antiquities of Ox- ||

A Vignette of a curious Chimney, a relic of the ancient

Manor House at Woodstock. fordshire. With Descriptive Historical Notices. Oxford : J. Skelton.

of the merits of the plates, we shall speak in a future

paper on the present state of topographical engraving. The work entitled “ Oxonia Antiqua Restaurata," pub- || We recommend this very interesting work to the collectors lished by Mr. Shelton, was too interesting to the members of topographical publications.


ll odium under which it had sunk. It is now revived, and its The love of novelty, it is well known, is too often grati-l claims to the notice of the collector of taste, is acknowfied at the expence of good taste. The trash that is con- || ledged by the general approbation with which this work is stantly issuing from the graphic press, to gratify the rest.

received, and by the sale of the numbers already publishless general desire for something new, bears down all oppo

ed. In these, Mr. Ward has engraved the following cclesition, and will continue so to do as long as Fashion is led | breted horses, from the portraits which he has painted for by Folly--until, indeed, that the arbiters of taste are com- | the high personages to whom they respectively belong, and petent to their office, and that some accepted code be esta

some accepted code be estas | by their approbation and consent. blished, by which the public judgment may be led to dis- |

1. Adonis, the favorite charger of his late Majesty, upon criminate what is really art, in contra-distinction to what is

which that revered sovereign reviewed the volunteers on so miscalled.

the memorable fourth of June. The lithographic press has promulgated as large a proror

2. Monitor, the property of his Majesty. tion of graphic rubbish, as any new invention that could | 3. Soothsayer, a celebrated race-horse, late the property be named. Indeed, so much that is worthless, not to say

of bis Majesty. execrable, is of lithographic manufacture, that the men

4. Copenhagen, the charger that carried the Duke of tion of engraving on stone had almost become disgusting to

Wellington on the day of Waterloo. The horse is now the ear of connoisseurship.

about twenty-three years old. The clebrated Felix Calvert, the brewer of entire, an

5. Primrose, a brood mare, and her foal, the property of acknowledged judge of " horse flesh," used to say, that "a

e Duke of Gralton. good borse was of any colour." So with regard to art, a true

6. A Persian horse, the property of the Duke of Norconnoisseur will aver, that a clever work is of any style.

tule | thumberland. It is not the trade which makes the man, but the man that

7. A Cossack horse, the property of ditto. makes the trade. We could proceed with adageas long,

8. Doctor Syntax, a celebrated race-borse, who has won and as near to the mark, perhaps, as the Governor of Bar

twenty gold cups, the property of Ralph Riddel, Esq. rataria, were we not upon the subject of taste. One more

9. Leopold, a celebrated race-horse, the property of comparison, and we have done. Lithography, like a fid

John George Lambton, Esq. die, is a vile instrument in unskilful hands. We can

10. Phantom, a celebrated race-horse, the property of speak of experience, after twenty years practice. Yet,

Sir John Shelley, Bart.

11. Waton, a race-horse, the property of ditto. what is not the capacity of this little four stringed instrument in the hands of a Spagnol tti?

12. Little Peggy, a mare, thirty-three inches high, from So with lithography--it is nothing, but under the chalk || the Tibet mountains m the East Indica. of a master. Had such an invention existed in the days

This interesting work is published for the artist, by R. of Michael Angelo, or Rubens, or Rembrandt, we then should

| Ackermann, Strand. have known more of the inspiration of these great geniuses

such as we beheld in Mr. Cooke's gallery on our recent sit in Soho-Square. We forgot to mention the sketches

REVIEWS. 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,

Essai sur l'Histoire de la Peinture en Italie, depuis les that were masterly productions, particularly a subject of tems les plus anciens jusqu, à nos jours. Par M. LE an English mail-coach, on the full gallop, by Vernet, ne COMTE GREGOIRE ORLOFF, Sénat. ur de l'Empire de phew of the celebrated French marine painter of that Russie. 2 vols, 800. Bossange, père. Paris : 1823. name, which is a spirited and excellent performance. We had also seen some German works, by this process, of con In a work so much devoted as ours is to the subject of siderable merit. In England, however, wr had beheld lit

| the fine arts, and more especially to the history, present tlef om among the many who bad essayed an experiment, that was of value. It was taken up by our artists as a sort

state, and general principles of painting, it will not be of graphic play-thing, and thought of no more. We re- || necessary to make any apology for directing the attenmember that the discovery was held of so little value, that | tion of our readers to the volumes of Count Orlott. the patentee could not find a purchaser for the secret of || It is a work which well deserves the notice of a literary printing, and the art lithographic in England became a dead letter in art.

Il journal, whether we regard the justness and originality It was first brought hither by M. Andre, a German. of its opinions, or the fidelity and extent of its research. Stones were provided by that gentleman for any artist of re For some time past, the public attention has been freputation who chose to try its capacities. The late Presi

Il quently called to the history and condition of the fine dent of the Royal Academy, and many others, contributed a plate gratuitously to the ingenious foreigner. Some folio | arts in Italy. Winckelmann's eloquent and ingenious numbers of impressions from their sketches were published. | treatises are sufficiently well known; the elaborate work They were not approved, and the scheme failed. Mr. Voll of Lanzi is familiar to the student and amateur ;* Mr. weiler, a countryman of the patentee, purchased the se

James's recent publication evinces a fair portion of taste, cret of M. Andre. He attempted a similar publication, and that failed. It was subsequently revived, and became,

and in France several volumes have been published, of in various hands, a machine for the wholesale manufacture | which the critics and artists speak in the language of praise. of trumpery,

The incidental notices of the fine arts which are to be At length Mr. Ward turned his thoughts to lithography, and discovering that there were capacities in the surface of

found in the pages of travellers are not worth referring stone thus prepared, transferred one of his animal paint


" inge 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, led without study, and uttered without consideration. which he has since successfully continued, until we have | The Count Orlotf is not unknown to literature. He a work on animals, that is the admiration of all who can appreciate what is bold, original, and estimable in art. This is the author of a history of Naples, and of a history of work, alone, would have rescued lithograghy from the music, both of which have gained considerable reputa

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