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ing in the elegant coteries of May-fair. There seems to me to be no greater impertinence, than that of a man of || fashion pretending to understand the real feelings of man. A Byron, or so, appears once in a hundred years or so, perhaps but then even Byron was always a roue, and had seen the froth foam over the side of many a pewter pot, cre he attempted to sing of Childe Harold's melancholious moods. À man has no conception of the true sentimental sadness of the poetic mind, unless he has been blind drunk once and again, mixing tears with toddy, and the heigho with the hick-up. What can these dandies know who have never even spent a cool morning in The Shades? No good poetry was ever written by a character in silk stockings. Hogg writes in corduroy breeches and top boots: Coleridge in black breeches and grey worsteds: Sir Walter in rigand-furrows: Tom Moore in Connemaras, all his good songs-Lalla Roohk, I opine, in economy-silks: Tom Campbell wrote his old affairs bareheaded, and without breeches -Ritter Bann, on the contrary, smells of natty stocking pantaloons, and a scratch wig: Lord Byron wears cossacks in spite of Almack's: Allan Cunningham sports a leathern apron: William Wordsworth rejoices in velveteens: and Willison Glass the same. It is long since I have seen Dr. Sonthey, but I understand he has adopted the present fashion of green silk stockings with gold clocks: Barry Cornwall wears a tawney waistcoat of beggar's velvet, with silver frogs, and a sham platina chain twisted through two button holes. Leigh Hunt's yellow breeches are well known:-So are my own Wellingtons, for that matter.

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MAXIM NINETEENTH.

Saturn and the Titans. This they do in order to shew off* learning and depth, but they know nothing after all of the sky gods. I have long had an idea of writing a dithyrambic in order to shew these fellows how to touch off mythology. Here is a sample

Come to the meeting, there's drinking and eating
Plenty and famous, your bellies to cram;
Jupiter Ammon, with gills red as salmon,
Twists round his eyebrows the horns of a ram.
Juno the she-cock has harnessed her peacock,
Warming the way with a drop of a dram;
Phoebus Apollo in order will follow,
Lighting the road with his old patent flam.
Cuckoldy Vulcan, dispatching a full can,

Limps to the banquet on tottering ham;
Venus her sparrows, and Cupid his arrows,
Sport on th' occasion, fine infant and dam.
Mars, in full armour, to follow his charmer,
Looks as ferocious as Highlander Sam;
Jocus and Comus ride tandem with Momus,
Cheering the road with gibe, banter, and bam.
Madam Latona, the old Roba Bona,

Simpering as mild as a fawn or a lamb,
Drives with Aurora the red-nosed Signora,
With fingers as rosy as raspberry jam.
There is real mythology for you!

MAXIM TWENTY-THIRD.

The English really are, after all, a mighty 'cute people. I never went anywhere when I was first imported, that they did not find me out to be an Irishman, the moment I opened my mouth. And how think ye? Because I used at first to call always for a pot of porter; whereas, in England, they never drink more than a pint at a draught.Vide Blackwood's Edinburgh Magazine, May, 1824.

TO THE

Nothing can be more proper than the late parliamentary || EDITOR OF THE SOMERSET HOUSE GAZETTE. grant of half a million for the building of new churches.

MAXIM TWENTIETH.

What I said in Maxim Third, of stopping punsters, must be understood with reservation. Puns are frequently provocative. One day, after dinner with a Nabob, he was giving us Madeira

London-East India-picked-particular, then a second thought struck him, and he remembered that he had a few flasks of Constantia in the house, and he produced one. He gave us just a glass a-piece. We became clamorous for another, but the old qui-hi was firm in refusal. “Well, well,” said Sydney Smith, a man for whom I have a particular regard, “since we can't double the Cape, we must e'en go back to Madeira." We all laughed our host most of all-and he too, luckily, had his joke. "Be of good hope, you shall double it," at which we all laughed still more immoderately, and drank the second flask.

MAXIM TWENTY-FIRST.

SIR, A PORTION of the effects of Sir Gregory Osborne Page Turner, Bart., or, as he is generally called, Sir Gregory Page, has, by order of the Sheriff, been recently disposed of by public auction, at his seat, Battlesden Park, Bedfordshire.

The first sale of three days consisted of pictures and a few articles of virtu, the principal part of which were purchased by London dealers; one of whom was commissioned by the Duke of Bedford to bid for the celebrated Antique Basrelief, representing the Death of Patroclus, formerly brought from Ephesus, which we remember the good-natured Baronet purchased about twelve years ago, at the European Museum, for the sum of 3000 guineas: on this occasion his Grace obtained it at the low price of 200. This remnant of antiquity (for it is in a very mutilated state) was, we believe, with the exception of a portrait of Lady Russell, the only purchase made by order of the noble Duke. We were surprised his Grace did not think Louth

place in the princely Abbey of Woburn. It has generally been allowed to be the chef d'œuvre of the artist.

What stuff in Mrs. Hemans, Miss Porden, &c. &c. to beerbourg's" Defeat of the Spanish Armada," deserving a writing plays and epics! There is no such thing as female genius. The only good things that women have written, are Sappho's Ode upon Phaon, and Madame de Stael's Corinne; and of these two good things the inspiration is simply and entirely that one glorious feeling, in which, and in which alone, woman is the equal of man. They are undoubtedly mistress-pieces.

MAXIM TWENTY-SECOND.

There is a kind of mythological jacobitism going just now which I cannot patronize. You see Barry Cornwall, and other great poets of his calibre, running down Jupiter and the existing dynasty very much, and bringing up old

The sale that took place this week was not sufficiently interesting to command the attention of the cognoscenti. Lot 31, in the first day's catalogue, consisting of 314 original Letters from the Duke of Marlborough during his campaigns in Germany, with a few of Queen Anne's, produced 60 guineas. Mr. Thorpe was the purchaser.

An uncouth article called an Ancient Roman Altar, was knocked down for one guinea, (and this is above its real value,) for which, we understand, some dealer absolutely received four hundred.

BRITISH INSTITUTION, PALL-MALL.

THE GALLERY with a SELECTION of the WORKS

of the Italian, Spanish, Flemish, Dutch, and English Schools, is OPEN to the Public from Ten in the Morning until Six in the Evening. Admission, Is. Catalogue Is.

(By Order) JOHN YOUNG, Keeper.

The Subscribers to the print from Mr. West's Picture of" Christ Healing the Sick in the Temple," who have not already received their impressions, may receive them upon payment of the remainder of their Subscriptions at the British Gallery, Daily.

Recently published, in one vol. post 8vo. price 88.
SOME ACCOUNT of the LIFE of the LATE GILBERT
EARLE, Esq. Written by Himself.

"If truth of feeling, and deep though simple pathos, united with very elegant language and sweetness of observation, can render a book popular, this volume will be so in a great degree."-Literary Gazette, June 12.

"The whole book is full of delicate and strong touches of sentiment and passion."-Somerset House Gazette, June 5.

"The fragmental sketches exceedingly remind us of the Man of Feeling, the abilities of the writer bearing no slight affinity to those of Mackenzie."-Examiner, June 21.

""Tis a most melancholy tale-both the subject and the style are after Adam Blair, but that does not prevent the Author exhibiting great and original talent in many of the descriptions."-Blackwood's Magazine, June.

London: Printed for Charles Knight, Pall Mall East."

In a few days will be published, 2 vols, post 8vo. price 168. ITALY and the ITALIANS in the NINETEENTH CENTURY; a View of the Civil, Political, and Moral State of that Country, with a Treatise on Modern Italian Literature. By A. Vieusseux.

"After the last peace I returned to the land of my childhood: I found every thing altered, and myself almost a stranger in my own country. I wandered then about Italy, adding fresh information to old recollections; and from both I now exhibit a sketch I hope not altogether uninteresting."-Author's Preface.

London printed for Charles Knight, Pall-Mall East.

FINE ARTS.-The attention of the Nobility and Gentry

is respectfully invited to a Collection of Valuable PICTURES, by Ancient and Modern Masters. for SALE on very Moderate Terms, at No. 56, Pall Mall.

Just published, by C. Baldwin, Newgate Street.

Just published, in 2 vols. 8vo. with Eight Plates, of Scenery and
Costume, and 3 Maps.

NARRATIVE of a PEDESTRIAN JOURNEY through

RUSSIA and SIBERIAN TARTARY, from the Territories of China to the Frozen Sea and Kamschatka, performed during the Years 1820, 21, 22, and 23, by Captain John Dundas Cochrane, of the Royal Navy. The Second Edition, with large Additions. London: printed for Charles Knight, Pall-Mall East.

DULWICH GALLERY.

This day is published in 12mo. price 38. extra boards.

BEAUTIES of the DULWICH PICTURE GALLERY.

Printed for G. and W. B. Whittaker, Ave-Maria-lane.

NATIONAL (LATE THE ANGERSTEIN) GALLERY.
This day is published, price 18.

A Descriptive and Critical CATALOGUE of the NA

TIONAL (late the Angerstein) GALLERY, now Open to the
Public in Pall-mall.
Printed for G. and W. B. Whittaker, Ave-Maria-lane.

Just Published, No.1, Price 10s. 6d.of the

CARICATURES of GILLRAY; with Historical and Folitical Illustrations, and Compendious Biographical Anecdotes and Notices.

To expatiate upon the originality of style, the fertility of imagination, the fidelity of character, the force of expression, or the endless variety displayed in the unique designs of this Artist, would be needless; for the political works of Gillray are almost as generally known, not only in England, but on the Continent, and other foreign parts, as the events that gave them birth. Even the hamorous designs of his prolific pencil, though characteristic of English manners, contain so much of " graphic point," that like the hranour of his great predecessor Hogarth, they speak a language intelligible to the whole world-hence, these are equally, with his political subjects, sought by the foreign collector.

By the English people then, a republication from the choicest plates, designed by their ingenious countryman, of sufficient dimensions to convey the entire spirit of the originals, eaunot, we presume, be received with indifference. Many of the plates of GʻLLRAY are become scarce, some are worn out or destroyed, and the expence of making even a selection from his best designs, amounts to a sum, which but a small proportion of the admirers of his talent and humour could conveniently spare. The work proposed, will comprise enough of the POLITICAL, to form a connecting chain of history, during the administration of the illustrious PITT, and his able compeers: and of the HUMOUROUS, sufficient to prove that to genius, every epoch affords enough of absurdity, inconsistency,

THE OLD ENGLISH DRAMA, a Selection of Plays and folly, to excite the laughter, pity, or contempt of mankind. from The Old English Dramatists. It is correctly and beautifully printed in crown 8vo. and published in parts, price 2s. 6d. each, with Biographical and Critical Notices.

A very small number are printed in demy 8vo. at 4s. No. I. contains THE SECOND MAIDEN'S TRAGEDY, now first printed from the original MS. (of 1611) in the Lansdown Collection.

No. II. A PLEASANT CONCEITED COMEDY, showing how a man may choose a Good Wife from a Bad. (1st. Edit. 1602.)

No. III. THE BALL, A COMEDY. By George Chapman and James Shirley, (1639) not reprinted in any collection.

This work will contain the rarest of those noble specimens of
English Genius, The Early Drama; Four Numbers will form a
Volume, and the Volumes will be delivered as they appear, in extra
boards, and in half binding with the edges uncut.

RIVINGTON'S CONTINUATION OF THE ANNUAL REGIS-
TER PUBLISHED BY THE LATE MR. DODSLEY.
In the Press, and will appear in September next, in One large

Volume, 8vo.

This work will contain all the best designs of this celebrated Caricaturist; and will be published in Monthly Parts, each part to contain Nine Coloured Plates, printed on Imperial Quarto, with descriptive letter-press, price 10s. 6d. each Part: and will, it is expected, be completed in Nine or Ten Parts.-London: Published by John Miller, 5, New Bridge-street; William Blackwood, Edinburgh; and Sold by all Booksellers.

The Publishers respectfully inform the Subscribers, that, from unexpected circumstances, the present Number has been delayed. To secure a punctual delivery of the succeeding Numbers, Part II. will not appear until September 1, after which, each part will be regularly published on the first of every succeeding month.

Published by WETTON, 21, Fleet-street, 4to. price 10s. 6d.

THE AID TO MEMORY, being a Common Place, Book upon a new Plan, (with an Alphabetical Index,) consisting of upwards of One Hundred and Fifty Heads, such as occur in General Reading, and ample room for other Subjects. Suited alike to the Student, the Scholar, the Man of Pleasure, and the Man of

THE ANNUAL REGISTER; or, a View of the History Business. By J. A. Sargant. Ruled with faint Lines. Large 4to.

of Politics and Literature of the Year 1800. This Volume will complete the Series published by Rivingtons, from 1791 to 1811 inclusive, any Volume of which may be purchased separately. The Volume for 1812 will be published with as little delay as possible.

Rivingtons have lately published the Volumes for 1820, (commencing with his present Majesty's Reign) 1821, and 1822, price 18s. each. The Volume for 1823 is in the Press, and will be published on the 1st of December next; the Publishers having fixed that time with a View of comprising some important matter which could not be included in a more early publication.

108. 6d. feap. 4to. 68. boards.

Agreeably to the import of its title, this work is designed for general usefulness; which, indeed, its excellent arrangement is calculrted to promote. There is no station in which it may not be at tended with essential advantage."-New Times.

London: Printed by SHACKELL and ARROWSMITH, Johnson's Court; and published by W. WETTON, 21, Fleet Street; to be had also of all Booksellers and Newsmen.

And Literary Museum:

OR, WEEKLY MISCELLANY OF FINE ARTS, ANTIQUITIES, AND LITERARY CHIT CHAT.

No. XLI.]

By Ephraim Hardcastle.

A stamped Edition for Country Circulation, postage free, Price Tenpence.

MR. ACKERMANN'S REPOSITORY OF ARTS.

LATELY paving a visit at our worthy and much respected friend's, at No. 101, Strand, whom we have had the pleasure of knowing for the last twenty-five years, and sitting in his spacious library above stairs, whilst turning over a collection of prints, we could not avoid indulging in a pleasurable recollection of hours passed under this roof years before the premises became tenanted by their present ingenious and enterprising proprietor.

These well known premises, like most of the large old mansions in the Strand, have undergone changes in the lapse of ages, that would afford a little history, one, indeed, that could not fail to amuse those who like to revive the memory of former days.

The earliest reminiscences which we have of this house, carries us back to the period, when part of the site was occupied by the Old Fountain Tavern, which had been celebrated in the days of Steele, Prior, Addison, and Pope, and is memorable for one circumstance relating to this poet which may be again recorded. It was here that the solicitor of Mr. Pope, before witnesses, indorsed that satirical print of Hogarth's, which gave the bard so much offence. The celebrated etching of Pope white-washing Burlingtonhouse. This was immediately after the publication of the witty squib, when the poet meditated a prosecution against its daring author, for a libel. Waite, the tavern keeper, affixed his signature to the impression.

About half a century since, the building was in the joint occupation of Mr. Welch, a celebrated fencing master, where a flourishing academy for that science was maintained for many years, and a drawing academy, kept by a Mr. Pars, in which, for one short season, we attempted the use of the black and white chalks.

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[SIXPENCE.

orator had harangued his motley audience, on the science of modern revolution.

The fates, however, had decreed, that Discord should have no lasting footing there-Minerva again obtained possession, and it has been ever since, and may it long so continue, the flourishing seat of peaceful arts!

Were we to enumerate only a small part of what in the lighter and more fanciful branches of art, have proceeded through this REPOSITORY, we might swell the catalogue beyond the whole of the pages of this and another number of our paper. We may briefly say, that it has furnished employment, during almost a quarter of a century, for hundreds-nay, perhaps for thousands of ingenious and industrious hands. We speak collectively of minor works of

taste.

Of those of a superior cast, we may particularly notice the publications of the illustrated Histories of Westminster Abbey, of the Universities of Oxford and Cambridge, and the Public Schools-works, which engaged the talents of many members of a rising school of architectural drawing, which has become the pride of England, and the admiration of foreign nations. We need, in illustration but to name Messrs. Nash, Mackenzie, and Westall, whose topographical representations of our ancient ecclesiastical buildings, made expressly for these works, comprise a series of some hundred drawings, that cannot be matched in the world. To these, we must add in justice to the talent of a foreign disciple of the English school, those of Mr. Augustus Pugins, no less creditable to his superior taste and knowledge of this beautiful department of art.

Whilst upon this subject, we must observe, that we forgot to ask for another sight of two volumes, which we saw in Mr. Ackermann's library three or four years ago, as they claim notice in this our recording page. We mean, the whole of the original drawings for Westminster Abbey, inlaid in folio vellum, forming one volume, and the historical letter press forming another, printed also on vellum, that we have seen, or indeed could have conceived. They are in ponderous covers, of crimson velvet, ornamented with silver chased work, gilt, designed in the gothic taste by Mr. Papworth, the architect, and if our memory serves us, cost nearly three hundred pounds-binding alone. Two such folios, could not be produced, we venture to say. in the library of any sovereign in Europe. These were bound by the late celebrated Herring, the first workman of his

But a more celebrated drawing academy had previously been established on the site, which for many years had been attended by pupils, some of whom became distin-in bindings decidedly more superb, than those of any books guished painters: among others, Richard Cosway, and Francis Wheatley, who both attained to academic honours. Mr. Shipley had been a pupil of Philipps, a portrait painter, residing in Great Queen Street, Lincoln's Inn Fields, but he did not long practice that department of art, and ultimately opened the school in question. It was to the exertions of Mr. Shipley, that the Society for the Encouragement of Arts, Sciences, &c. in great part owed its origin, and indeed this school and the society, says Mr. Edwards, may be considered as having at the commencement, a kind of connexion, for they were for some time both held under the same roof. It should be mentioned too, to the honour of this academy, that the first premium conferred by the Society of Arts, was given to Mr. Cosway, then a pupil in Shipley's school.

Mr. William Pars, who had been bred to the now almost obsolete profession of a chaser, under his father, succeeded to Mr. Shipley in the conducting of this drawing academy, in which he had been a pupil.

During the interregnum from the death of Mr. Pars, the closing of the Fencing Academy, the shutting up of the Fountain Tavern, and the occupation of the site by Mr. Ackermann, various had been its changes. Among others, if we recollect aright, it had for a time held a debating society, and in the great room, in which the worthy Shipley had taught the arts of peace, a celebrated

VOL. II.

age.

About the year 1812, the Repository, then very inferior to its present appearance, although yet very spacious, underwent a thorough repair and improvement. The ground floor was altered from the designs of Mr. Pugin, and the old academy room, and that of the upper floor were changed to their present state, under the direction of Mr. Papworth, who designed the library, an apartment nearly fifty feet in length, by about nineteen in breadth, which was fitted up with great elegance, and above all, furnished with a valuable and extensive collection of works, principally books on ancient and modern art.

It was at this period, that the spirited and liberal proprietor, determined to light the whole of his extensive premises with gas; and here for the first time were the Hames of this invaluable invention, under his tasteful eye, converted to ornamental purposes: when the beau monde, for one whole winter, were driving every evening, to wit

LONDON, JULY 17, 1824.

ness the purest flame, illuminating the library, the shop, and the stair-cases, in the forms of the Greek honey suckle and other classic devices. Here too, it should be observed, the experiments were successfully accomplished that deprived gas of the sulphuric, and other disagreeable effluvia, which had hitherto prevented its adoption in private dwellings. Mr. Ackermann, at a vast expence, erected his own apparatus, had a large gasometer, and making the light of canal coal, superseded all former experiments, and mainly contributed to the success of the first great Gas Company, in Peter Street.-Such are the lasting benefits derived by the public, from the well directed schemes, and liberal spirit of an individual projector.

Of Mr. Ackermann's acquaintance with the author of Dr. Syntax, we believe we may date the origin to something like the following fortuitous circumstance. He projected a poetic magazine, and had in the front of his house, the head of an owl, with open mouth, ready to receive the contributions of all learned and unlearned scribblers, who might chuse to feed the congenial bird, with such of their nightly lucubrations, as they wished to bring to light. This blinking bird was not so blind as she seemed to be, and seizing an old way-be-gone poet by the finger, he cried out, whilst the "Scottish nightingale " cried tee whit, the signal for her master, who, finding his faithful bird had seized a wit, in want of a patron, kindly took him by the hand, and bade him to his board." It was a happy hour for old Squire Coombe, for he on that day found a friend who provided him a pillow of down to rest him in his grey age, and who, his labour ended, laid him, at his own expense, respectfully, in the tomb.

Old Mr. Coombe we knew for many a year, somewhat on occasions beyond mere how-d'ye-do acquaintance; but his history would convey no other moral than that which is purchased at the expense of what belongs not to us, nor to the world, and which would be obtained by pilfering the grave of its secrets; a species of robbery contrary to the current of our taste. The rectitude of his conduct to his patron, at least, might serve him for an epitaph. His services had been profitable to his employer-they were amply rewarded, and he went not thankless to the grave.

Time has been when we enjoyed his conversation. He knew a great deal of past events, and could relate, very pleasantly, things worthy of the ear. He had experienced, too, much of which he delighted not to tell, of that, indeed, which discretion bade him be mute. He had dissipated no inconsiderable inheritance, had lived less subject to the laws that govern others, than to his own will, and latterly exhibited the light rather than the shadow of his former career. There was a spice of that relish for fashionable life, to which he honestly could owe no agreeable retrospect, that seasoned his conversation occasionally to a late period. He would tell of his having cotillioned with Mrs. Garrick, when Beau Nash presided at Bath, and continue to tack some gay addendas to this "laced ruffle bag and sword" chit-chat, until he verily himself believed them to be true!

What has been related of the manner in which he composed the popular poem, Dr. Syntax, would not bear recital again, unless it were to relate the curious fact as it really occurred.-Mr. Rowlandson, celebrated for his humorous designs, made a series of sketches, in his loose style, to burlesque a modern tourist in search of the picturesque. This eccentric genius, like Gillray, never at a loss for subject, chose to make his hero a comical, thin visaged country parson, and led him from place to place, into a variety of situations, whimsical to the last degree. There were perhaps eighty or a hundred of these. Mr. Ackermann for many years had been a collector of the humorous designs of this artist, and among others, purchased these. One evening in looking over his portfolio, in company with Mr. Coombe, for a subject for the Poetical Magazine, he pounced upon the tourist. Coombe was amused with the

sketches, and a few were selected as the theme for versifying. It was subsequently agreed that a continued tale should be formed from them, and Mr. Ackermann was to continue the selection: one, two, or three were forwarded to Mr. Coombe, and when he had written from them, as many more were sent in exchange; thus, without further arrangement, or the author having the least knowledge of what would come next, the work proceeded, being published in detached parts, until the poem grew into a suffi|| cient number of verses to form a volume.

The magazine was dropped, and long after, at the instance. of his worthy neighbour, Mr. Taylor, proprietor of the Sun, Mr. Ackermann was induced to publish the Tour of Dr. Syntax in a separate volume; Mr. Taylor always insisting that it was a poem that would suit the public taste. The best comment upon his judgment is, that no poem perhaps has experienced so extensive a sale. It may not be known to all our readers, perhaps, that the world owes to the lively pen of this Mr. Taylor, of the Sun, that admirable tale, in verse, entitled "Monsieur Tonson."

WORKS ON THE FINE ARTS.

A Treatise on Civil Architecture, by SIR WILLIAM CHAMBERS; with Notes, and an Examination of Grecian Architecture, by JOSEPH GWILT, Architect, F. S. A. London: Priestley and Weale.

AMONG the truly learned it has long been a subject for regret, that, although there are so many who are capable of feeling, and judging of the merits of painting and sculpture, yet there are so few, even among men of education, who know enough of the science of architecture, to form even the slightest estimate of the merits of a fine building, although a magnificent or a beautiful structure is acknowledged to be one of the most interesting objects of human art.

We know that it is common with men of feeling and taste to lament their ingnorance of this sublime art, and know moreover, that lectures on the science have been as well attended, as those on other branches of human knowledge-and that they have invariably delighted the audience. These lectures, however, have not been sufficiently frequent, hence what has been thus obtained by an hour's hearing, has made only that slight impression, which gratified present curiosity, and was too soon liable to be obliterated from the

mind.

A work has at length commenced, which we should particularly recommend to the consideration of those who have attended these lectures, and indeed to all who would wish to acquire some information upon so elegant and interesting an art. Mr. Gwilt, a gentleman from his high professional knowledge, and general acquirements, best qualified to undertake so desired an object, is superintending a most elegant octavo edition of a Treatise on CIVIL ARCHITECTURE, by the late Sir William Chambers, from his great folio volume, with notes, and an Examination of the Elements of Beauty in Grecian Architecture, &c. This, very judi. ciously, is publishing in parts, the first of which is

before us, and from this we shall subjoin the following, interesting extracts, as leading to the main subject, and shall afterwards proceed at length to point out the plan, and general utility of the work :

"There is, perhaps, no subject on which persons are more apt to differ in their opinions, than on the beauty of a building, Upon due reflection, we shall find that this ought not to be a matter of surprise, for when we consider that the prototypes of architecture are entirely different in their nature from those employed in the arts of design, whose objects of imitation are in their extent, limited only by the range of animate and inanimate creation; and those that are so constantly subjected to our senses, that their images are easily understood and compared, it will be manifest, that, in an art which has no regulated standard of comparison, opinions must often be at variance with one another.

In architecture, the creative power of nature herself is the model imitated. It is an art which appeals directly to the understanding, and has not the means of flattering the senses in the same way as her sister arts, hence her productions are not universally appreciated in truth, they are rarely understood except by thos whose education and acquirements have qualified them to judge. The beautiful models, nature, however, are the index and guide of the painter and sculptor. A successful imitation of these models, even without an advance on the part of the artist, towards those higher and intellectual beauties which distinguish the historical painter, is capable of affecting us with very agreeable sensations: nay, the low and still life of the Flemish school has its admirers, and justly; but the architect creates the beauty he produces. The other artists easily address the senses and passions, whilst he can only rely on his appeal to the understanding. His powers of art are therefore limited to operations on the cultivated mind. | With the multitude, magnitude and richness are more valued than the utmost elegance of form, or the most fascinating series of proportions.

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"There are no edifices in any style of architecture, in which harmony is more pre-eminent than in the Grecian temples. Perhaps for harmony, the Gothic style in those of its structures, which are entirely of one period, yields only to the Grecian. The reason is evident: The origin, progress, and perfection of both styles were the result of the habits and characters and wants of the people that produced them.

"Harmony may, however, be carried to such an extent, as to generate a monotonous effect, as it most evidently does in the architecture of the Egyptians, wherein, as well from an excess of simplicity, as from the absence of variety, it cloys without satisfying. It may be compared to a musical composition, strictly conformable to the laws of counterpoint, wherein the author so constantly dwells on the same key without making use of his privilege of modulating into others, that he fails to fix the hearer's attention for more than a few seconds.

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Harmony can never exist in a building whose subdivisions are contrived without such an attention to uniformity of character as to impress on the mind an idea of unity, and if one may be permitted to use the terms, an expression of the structure's destination. It is, moreover, particularly to be attended to, in regulating and modifying the decorations that are employed; for instance, delicacy, lightness, and excess of ornament, would ill suit a building whose character and destination were of a nature discordant with those qualities.

Dramatic Costume of Shakspeare's Historical Tragedy of King John, selected and arranged from the Best Authorities, expressly for the Proprietors of the Theatre Royal Covent Garden; with Biographical, Critical and Explanatory Notices. By J. R. PLANCHE. The Figures designed and executed on Stone, by J. K. MEADOWS.

"Richness and simplicity are qualities, in the discreet use of which, the Greeks carried the art to the highest degree of perfection, at least in the works of the best ages. One of the most exquisite examples of appropriate richness that can be cited, is the beautiful monument of Lysicrates, whilst for the reverse of that quality, none can be "The object of an artist's inquiry is not so much to better cited than the Parthenon. Each is dressed with an investigate metaphysically the cause of beauty in the pro-appropriate quantity of ornament; the first captivates, the ductions of his art, as to study the effects that flow from latter is imposing and majestic." those which, by the common consent of ages, are esteemed beautiful, and thus shorten his mode by an a priori method. It is in this way that he will more readily obtain informa- || tion of those qualities which act on the understanding, and excite our affections by means of the beautiful result they exhibit. That there are, however, many other circumstances which tend to the production of an agreeable and beautiful result, is sufficiently obvious; one of them should be more particularly noticed, because there can be no doubt of its influence, in the excitement of our admiration, of the splendid monuments of Grecian art; it is an association with the times and countries which are most hallowed in our imagination. It is difficult for us to see them, even in their modern copies, without feeling them operate upon our minds, as relics of those polished nations where they first arose, and of that greater people by whom they were afterwards borrowed.' This is one of those causes which produce such an effect on our minds when we contemplate the stupendous ecclesiastical structures of the middle ages, to which must, at least by every man of taste, be assigned a very extraordinary and exalted degree of beauty. In these edifices, though to all appearance designed on principles essentially different from those employed by the Greeks, the elements of beauty are identically the same; but an analysis to prove such an hypothesis is not within the range of the present inquiry, Our cathedrals, it cannot be denied, are very much aided in their effect on the mind, by the recollections which carry us back to those ages when religión was all splendour, and society all chivalry. In short, ancient architecture of

THIS very useful and interesting little work, we had long proposed to notice, but not having received the first part until lately, we could not enter into the entire intention of its ingenious author. It is a curious circumstance, and one that should be generally known, that the painters owe to the researches of two professors of engraving, almost their entire knowledge of the ancient Anglo-Saxon, Norman, and English costumes; and but for the indefatigable spirit of antiquarian curiosity with which Mr. George Vertue and Mr. William Strutt pursued their enquiries into the subject, we should have known little of those habits and customs, of our forefathers, which afford the man of taste, the most pleasurable and interesting traits of history.

We have often wished that there had been some public repository of ancient costumes, where the his

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