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be generally known', I determined to visit the country || can desire to render a place delightful, will be found in this which gave him birth, and to examine carefully the neigh- || most enchanting domain,--wood, water, romantic rocks, bourhood where Wilson not only passed his early, youth, || verdant lawns, and opening glades; all these various but also a considerable portion of the latter period of his || charms, whether in the distance or in the foreground, may life. I accordingly made a journey into that part of North || be enjoyed with equal advantage, the most commodious Wales, and after inspecting the neat-looking town of || walks having been made for viewing their several beauties.

ninink more particularly its interesting | Colomondie is laid out with much taste, and has been cburchyard, arrived at the small village of Loggerheads. || considerably improved by plantations judiciously placed,

" This singular appellation owes its origin to the subject which are now of some years' growth. The views from the of the sign painted by Wilson for the village ale-house, and house and its neighbourhood are singularly beautiful, and, upon which are exhibited the heads of two very jolly-looking as they are enriched with the most agreeable variety and fellows, grinning and staring out of the picture towards | undulation of ground, afford very inviting subjects for the the spectator : underneath are written, in very legible | pencil. To the contemplative mind of an artist, especially, characters, the words, We three Loggerheads be. The the scenery of this place cannot fail to be heightened by painting retains its elevated situation to this day, though, ll the pleasing, though melancholy associations it conveys; perhaps, little of the original colour may remain, it having || and cold-hearted mortals must they be, who are not moved been more than once retouched since Wilson's time. The with the train of thought which it must necessarily inspire. innkeeper, nevertheless, sets a high value upon this appendage to his house, which, no doubt, has induced many a

Ah! who can tell how hard it is to climb

The steep where Fame's proud temple shines afar, , traveller, perhaps from motives of curiosity alone, to step

Ah! who can tell how many a soul sublime in, and try what sort of entertainment might be found,

Hath felt the influence of malignant star, notwithstanding the extraordinary mode of salutation |

And waged with fortune an eternal war; which greets him on his arrival at the door."

Check'd by the scoff of Pride, by Envy's frown, The sign of the Muleteers, by Correggio, and of the

And Poverty's unconquerable bar!'

BEATTIE. School-master, by Hans Holbein, are noticed in our

“ The old gardener of the place, Richard Lloyd, a man last. We wish it had occurred to the author, who is

very far advanced in years, remembered Wilson well, and known to be expert at the pencil, to have sketched | was his attendant, as be himself informed us, when he this sign of the Loggerheads, by Wilson; such a sub-died. According to this man's account the finances of our ject would have made a curious wood cut for this in.

ist, at the time of his decease, were not so confined as

has been reported, he having succeeded to some property teresting memoir. George Morland painted the sigp

upon the death of his brother. It was in consequence of of the White Lion, for an Inn at Paddington, which this acquisition, and the declining state of his health, that we believe is still swinging on the post before that he determined to remove from the metropolis, and spend rendezvous of him, Ibbetson, and Rathbone, the land the remainder of his days in his native country. scape painters, his boon companions. Wale, of histo

“At Colomondie I observed several of Wilson's pictures

in an unfinished state, with two or three merely in dead rical memory, painted the sign of Falstaff, which was || colour; of one of them the subject was the Atalanta, of suspended from elegant iron work, before a tavern near which, as is well known, there is an engraving; also a small | Drury Lane Theatre and Catton's Turk's-Head, werell picture, a view of the rock and river in the neighbourhood.

I These pictures were brought by Wilson, upon his retiring long known and admired as the Mercer's sign, in York

from London. Street, Covent Garden. — :

"At a little distance from the house, on either side of " Adjoining to this very picturesque and interesting

the road, are two an tient Scotch firs, extremely picturesque village, which within these few years enjoyed the tran

in their forms, said to have been favourite trees of Wilson, quility of a retired valley, and through which runs a beau

and which he more than once introduced into his compotiful stream, is Colomondie, the clegant seat of Miss Gar.

sitions; adjoining to them is a station commanding a tine nons, bequeathed to ber by her aunt, Mrs. Jones. This

view of the rocks above Llanverris, much adınired by him. last-mentioned lady was a relation of Wilson; and in this

"As every anecdote respecting so distinguished a charac

ter cannot but be interesting, I shall mention a circumhouse, erected upon an elevated and a most lovely situation,

stance relating to him, as I received it from Miss Garpong our great artist closed his earthly career. “ At Colomondie, an appellation derived from the Latin

of Colomondie. In the grounds belonging to this place, at word columba, a dove, Wilson spent the latter part of his

some distance from the house, was a large stone, to which days, after he retired from London. Subsequently to that

Wilson, in the latter part of his life, often resorted, it being

a favourite seat with this great observer of nature. During period, the house, to which considerable additions have been made, has undergone a thorough repair, and may be

his rambles, it was frequently his custom to be attended by looked upon as one of the most elegant villas in this part of

a Newfoundland dog ; and it so happened, that one day, the country, well worthy the attention of every lover of the

accompanied by his faithful companion, the aged painter

slipped from the stone upon which he had been seated, and picturesque; indeed, almost every object that a traveller

unable to recover himself, would, in all likelihood, have

perished on the spot, had not timely assistance arrived. .« In a work printed some years ago may be found the following

The sagacious animal, seeing the situation of his master, observation respecting Wilson : viz. 7 It appears that this artist's || ran howling to the house, and soliciting the attention of the youth was passed in an obscurity so great, that although he has | servanty with significant looks, pulling at the same time now been dead little more than one fourth of a century, his early the skirts of their clothes with his teeth, directed them to bistory is already left to conjecture. Many have lamented that Rey- || the spot, and thus was the means of rescuing his helplese nolds had not an abler master than Hudson ; but we have no cer master from a situation of considerable danger.. tainty that Wilson had ever any master; nor have we any date tol) “ In an upper room in the house at Colomondie, is the fix the commencement of his practice as a landscape painter. U bed on which Wilson breathed his last. In sbowing this Barry, with a warın heart, has panegyrised his independent spirit and his gening: Fuseli. with sounder criticism, has delined his rent || apartment, ola Richard Lloyd related to us how some powers; but neither have thrown a light upon his professional | painter, upon being told of the circumstance, stretched career. Perhaps no country is so negligent of its fame as Britain. hiinself upon the bed, in order that he might be able to say

chi bave

he had lain where this great artist had terminated his life; || even though it might be placed before him. He wore a win so deep was the veneration he entertained for this justly || tied or plaited behind into a knocker or club, and a triancelebrated painter."

gular cocked hat, according to the costume of the time.

" Depression and mortification, awakened by neglect, it The author proceeds to describe the rural simplicity

may naturally be supposed could not fail to operate severely and quiet seclusion which this spot (Colomondie) for upon such a mind as Wilson's, in which that sensibility so merly enjoyed, moralising on his wav, on the changes necessarily allied to a retinement of taste, must have prewhich commerce has introduced, adding some very

dominated in a very high degree; the consequence of this

was, that he became negligent of himself, both in person sensible and useful observations on the practice of

and manners. Mr. Northcote's impression of Wilson was, sketching, accompanied by reflections on the delightful as the author has been credibly informed, “ that his mind pursuits, written with much feeling, for, to use his own was as refined and intelligent as his person and manners words, “the love of nature is in some degree inherent

were coarse and repulsive; and that discernment, and

familiarity with him were necessary to discover the unpoin us all."

lished jewel beneath its ferruginous coat. He appears, in" Is an ingredient in the compound of man,

deed, to have been much respected, and highly esier med Insused at the creation of the kind."

by those who were acquainted with his real nature and d sCorper. position. The late Mr. Stowers of Charter-bouse Square,

an amateur pupil and companion of Wilson, is well hilown “ The seeds of taste, indeed," says the author, in to have entertained the very highest esterm lor the man, no illustration of his axioin, “are continually found to

less than admiration of his works. The present Mr.

Stowers, who has obligingly furnished this information, exist in minds, in which it is impossible to trace them

says that he has often heard his father affirm be regarded to any hand but that of nature."

Wilson as a very honourable chara'ter, and delighted much " Ask the swain

in his blunt honesty and intelligence of conversation. Mir. Who journcys homeward from a summer day's

S. distinctly remembers, that his father often repeated Long labour, why, forgetful of his toils

conversations of his with Wilson, in which the painter And due repose, he loiters to behold

would lament the destiny which had denied him the ini

tiation into some trade or profession in which he migh The sunshine gleaming, as thro' amber clouds, O'er all the western sky; full soon I ween,

contributed that to the wants of society, wbich would have His rude expression and untutor'd airs,

supplied the comforts and enjoyments of life to himself, Beyond the power of language, will unfold

instead of devoting him to an art which, while it fosters the

sensibilities of o The form of beauty smiling at his heart.".

nsibilities of our nature, does not always secure to the Akenside.

artist the remuneration of his anxious endeavours.

“ With such sentiments, nevertheless, prompted, as they “ To return, however, to the subject we were considering, must too surely have been, by spleen and disappointment, viz. the interesting village of Llan verris.-On the occasion

there cannot remain a doubt but that Wilson was influenced alluded to, having finished my sketch, I inquired of a by motives of higher consideration, since, notwithstanding countryman who happened to be passing at the time, the his necessities, no hope of rewards could ever tempt him to name of the village before us, and, as it may be supposed, forsake his art, or for go the consciousness of meriting the was somewhat surprized by his answering, in a broad, approbation of his fellow minds. His address, according to blunt tone of voice, and without the least apparent inten the report of one who was well acquainted with him, was tion of passing a joke, Logverheads.'

rather pleasing, and he made no mystery of his manner of " Thouh aware that Welsh was the language then gene.

painting,--a liberality, it is to be feared, not always so conrally spoken, the term seemed so remarkable, that I was spicuous in the conduct of the artist. His method appears induced to repeat my question. Still the answer was pre to have been slow and full of reflection, especially in finishcisely the same; I therefore, without further hesitation, ing his pictures,-frequently receding from them, in order inscribed at the foot of my drawing, notwithstanding the to consider more advantageously their effect." oddity of such a title, in plain English, Loggerheads; nor did 1, until a considerable time afterwards, find out the l « Mr. Price," says the author, in his very interesting real meaning of the word, always supposing that it must have been some Welsh appellation, assimilating in sound || work on

ill work on the Picturesque, mentions the following story with our own language, and which at the time appeared a relating to Wilson, a singular trait, and which evinces, very curious and laughable coincidence of terms.

in a high degree, how much the mind of the painter "Wilson appears to have been partial to his native

was at all times bent upon the contemplation of his country, and is known to have declared, that in his the scenery of Wales afforded every requisite for a land

|| art. “ Sir Joshua Reynolds," says Mr. Price, “told scape painter, whether in the sublime or in the pastoral me that when Wilson the landscape painter was look. representations of nature. In the possession of Sir Watkin ing at the view from Richmond Terrace, Wilson was Williams Wynne, Bart. are several pictures painted by

pointing out some particular spot, in order to direct his Wilson, representing well known places in that country; there are also six views in Wales, engraved from paintings

eye to it; there,' said he, near those houses-there by him.

where the figures are,' • Though a painter,' said "In person, Wilson was somewhat above the middle size, Sir Joshua, • I was puzzled; I thought he meant staof robust make, and rather corpulent,-his head, at the

tues, and was looking upon the tops of the houses, same time, being large in proportion to the rest of his figure. During the latter years of his life, his face became

for I did not at first conceive that the men and women red, and was covered with blotches; he had a remarkably

a remarkably || we plainly saw about, were, by him, only thought of large nose, and was much displeased if any one appeared to | as figures in the landscape.' observe it. This, perhaps, may be attributed, in a certain

We remember this story in the works of Mr. now degree, to his fondness for a pot of porter, to which it was his custom not unfrequently to resort, and which at all

that all Sir Uvedale Price, having adverted to it in our former times he preferred to the more expensive beverage of wine, | lucubrations, and coniess we thought then, as we do

now, with all our fondness for the memory of our illus- || of Wilson, without such aid ; and at the same time, trious Reynolds, that he must have been rather daft on that we admire the honourable feeling that thus assigns this occasion, when with such a brother chip, he should every feather to its proper bird, we cannot allow that have thus mistaken a “ pillar for a post"-the more the author “ shines only in borrowed plumes." His So, as this prince of portrait painters, was so addicted own remarks are pointed, sensible, and just, we mean to looking at landscape with a Wilsonic eye. We re as they relate to the artist whose character he has so member being told, that when the meetings of the ably drawn, and the elucidation of the principles of Royal Academy were held at Old Somerset House, || the art of which he was so distinguished an ornament; at a dinner given on some occasion, in an ancient and may add, that the philosophical reflections, and apartment there, whilst sitting over the wine in the various digressions, with which many of the pages are evening, that Sir Joshua interrupted the conversation, || filled, have a direct tendency to spread a love for the by directing the attention of some of the guests across || pursuits of art, to assist the judgment, and improve the Thames, to the effect of the approaching twilight, | the general taste. Indeed, we are so pleased with the on which he expatiated with enthusiasm, comparing it volume, that we purpose having a copy interleaved, to the richness and intensity of Titian. A feeling for in which at our leisure, we shall insert every scrap of the highest sentiment of landscape, is manifest in the information we may henceforth pick up, relating to the backgrounds of his fine whole lengths, and in many of illustrious subject of the memoir, and sincerely thank his favourite compositions. His palette on these occa- | the author for affording us so valuable a stock, on sions has rivalled those of Titian or Rembrandt. which to engrast something of our own; not that Mr.

The author's strictures on the neglect shown to the || Wright has now left us much to collect. works of Wilson, by two such distinguished writers as | Among the traits of character, anecdotes, and artis. Price and Gilpin, contemporaries of the painter, aretical matter, which we hare marked, in our progress so creditable to his taste, and too congenial to his subject far, we select the following for the entertainment of not to claim our notice. One of these gentlemen still our readers. We must, however, first point to a most survives, we are happy to say, enjoying his retirement, valuable document-one which describes the process we believe, in a paradise, partly of his own creating. l of this original painter--a feature of the work that will Could this learned gentleman find leisure, if the pen be l be contenup!ated by the professional student, and the not relinquished, we may yet perhaps be favoured with amateur with particular interest. etricient reasons for this remarkable silence ; for we

- Respecting the palette, and the process adopted by could not name an author who has written more ably, || Wilson, some particulars have been communicated to me on the picturesque of landscape, than Mr. Uvedale by a friend, derived, as he informs nie, from a very authenPrice :

tic source. According to this statement, the colours used

by Wilson were white, Naples yellow, vermillion, light " It is somewhat remarkable, that although the subject

ochre, brown ochire, dark or roman ochre, lake, yellow of which Mr. Price treats so much at length has very fre- | lake, lamp black, Prussian blue, ultramarine, burnt terra quently, as might be expected, a reference to pictures, and || di Sienna. especially to landscape painting, this should be the only | “ Wilson dead-coloured in a very broad simple manner, instance in which he has introduced the name of Wilson I giving a faint idea of the effect and colour intended, but (that master of the picturesque) into his work, and that, too, | without any very bright light or strong dark, quite flat, and merely in a note at the foot of the page! This observation | no handling whatever; the shadows on the foreground thin applies still more forcibly to Mr. Gilpin, the ingenious and clear, air tint prevailing. author of essays, together with other publications relating " When perfectly dry, he went over it a second time, to the subject of art, and landscape scenery in particular, I heightening every part with colour, and deepening the shaof which he appears to be an enthusiastic admirer, whether || dows, but still brown, free, loose, and flat, and left in a state in nature or on canvas. The author has in vain looked for finishing; the half tints laid in, without high lights. through the volumes of this writer for even a hint at our || The third time he altered what was necessary in the masses countryman, Wilson. Upon the merits of Claude, they of tint, adding all the necessary sharpness and handling to both, with equal freedom, offer their sentiments, whether the different objects, and then gave the finish to his picof censure or applause, and the landscapes of Gaspar,

ture. Titian, and Salvator, are continually the subjects of their “ His great care was to bring up all the parts of his piccomparison with the scenery which nature presents to their | tures together, and not to finish one part before another, view; while the sublime productions of Wilson secm either || so that his pictures should not, as the painters term it, run to have escaped their notice altogether, or to have been | away with him, and that while working in one part, he deemed unworthy of their regard. To what, may it be should introduce that colour into other parts where it asked, are we to attribute this seeming neglect? The poet suited, or to lower the tone fit to make it suit, that the difhas told us : he had not been · dead a hundred years.”ferent parts might keep company with each other. Mr. Wright, in the preface, informs us, that the vo

U " His air tint was blue, burnt ochre, and light red, some

times a little vermillion, and, in other cases, he made his lume is “ made up of thoughts and observations of

air tint of the lakes and blue; with the lakes he made his others, much more than of his own." By this candid 1 glazing tints on the foreground very rich and warm, and of disclosure, he deprecates censure for “the vanity of their rull force; but all this was moderated by the tints wishing to appear as an author." We know not, how

which he laid on the glazings. If any part was hard, he

restored it by scumbling the air tint, suited to the distance ever, how a volume like this could be composed, by one of the

ll of the part over it, and then added the finishing touches who had not lived in the days, and even in the society and sharpness, to prevent it being smoky or mealy. A

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magylph, or majellup, of linseed oil and mastic yarnish, in || any particular artist exhibited at one view, which have which the latter predominated, was his usual vehicle, and || been seen in each exbibition as for example :an oyster shell served him to contain it. He dead-coloured with Prussian blue, but always finished the sky and distance with ultramarine, for it was his opinion that no other blue could give the beautiful effect of air.

" For the chief of the above particulars respecting the colours and the process used by Wilson, I stand indebted to my much valued friend and fellow-traveller, Sir William Pilkington, Bart. a lover of art, possessing at the same time refinement of taste and a practical knowledge such as few amateurs can boast. To him they were communicated by a gentleman who received them from the late Mr. Farrington, a pupil of Wilson-an authority not to be disputed.

"On various occasions, Wilson did not scruple to take advantage of the talents of Mortimer, and sometimes of Hayman, for the introduction of his figures. The pictures of Meleagar and Atalanta, of Apollo and the Seasons, and several others, furnish examples of this. Though such a practice with a landscape painter is by no means unusual, I have nevertheless heard it asserted by some critics, judging no doubt from this circumstance, that Wilson was unequal to this, so essential a part of his art, being, say they, (to use an expression at once the most general and sweeping,) a very indifferent painter of figures; and that, moreover, it was for this reason that, in his best pictures, we so often find them introduced by the hand of some other artist. Now, although such has been the case, in various instances, still I will venture to maintain, that so far from this having been a general practice with our artist, he, on the contrary, almost always introduced the figures himself. The greater part of Wilson's pictures, (and I have had opportunity of inspecting a vast number of his works,) bear ample testimony to this, carrying in the face of them, if one may so say, the most evident proofs that these important additions were executed by the self same hand as that by which the rest of the picture had been painted."

(To be continued.)

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LIONARDO DA VINCI.

An Account of the Principal Pictures belonging to the

Nobility and Gentry of England. London: Priestley and Weale.

We owe to the diligent research, and good taste of the Reverend author of this useful work, many a treatise upon the fine arts, and in respect for the benefits derived from the exertions of his pen, in the cause of virtu, we cannot forego the expression of our thanks to Mr. Dallaway on this occasion.

This worthy amateur, “ an elderly gentleman of the old school," as he is pleased to designate himself, has collected together for his winter evening's amusement, an account of all the pictures by the old masters, which have been exhibited in the Gallery of the British Institution from the year 1813 to that of 1823, arranging them by a classification of the utmost assistance to the artist and the connoisseur, and in a shape that cannot fail to interest the amateur, and all those who desire to retain a "ecollection of the delight, experienced year after year, in regular succession, on their visits to that national depot of art.

First then, on one page is the master and the school,

nolds by the late Duke of Leeds.
during four years.
England. It was given to Sir Joshua Rey-
anni e non dato mai per finito.".
known how this portrait was brought to
bre ritratto di Mona Lisa, lavoro di quattro
Florence. Lanzi observes, “Il tanto cele-
portrait is said to have employed Lionardo
She was the wife of Francesco Giocondo: her

painted for the Duke de St. Simon,

of Vasari, this picture is said to have been .. In the Supplement to Della Valle's first edit.

There is another at

It is not

com

..Marriette (in his Lett. Pittor, T. 2. p. 175,) reports this picture to have been in the collection of Francis I., who gave 4000 crowns for it. In Vassari's time, it was in the collection of Fontainbleau, it was afterwards removed to Versailles, L'Especie, Catalogue Raisonnee des Tableaux du Roy. T. 1. p. 13. Lionardo wrote treatises upon

The author after expatiating upon the advantages are completed, it will form one of the most elegan which have resulted froin the exertions of the Directors || volumes, that shall have issued from the British presso of the British Institution, and adverting to the pictures The notes and illustrations by Mr. Gwilt, adding of the late Mr. Angerstein, says :

so much original information, and so ably elucidating “ It may not be uninteresting, in the history of pictures,

the author, renders it more generally useful as a library to notice the money paid for three of the most celebrated

book : so much so, indeed, that it conveys a mass oi collections known in this country:

well arranged information upon this sublime art, that 1779, The Houghton, 232 pictures ........£40,555 cannot fail to delight, at the same time that it instructs. 1798, The Orleans, 296 pictures .......... 43,6740

| It is a work, which we should recommend particularly 1824, The Angerstein, 38 pictures ........ 57,000 In the Houghton collection: “ The Consultation of the Il to all young persons who would desire to improve Doctors,'by Guido, was valued at £3,500. “ Holy Fa | their minds, as it will imperceptibly lead them to mily," byVandyck, £1,600. “ Magdalene at Christ's || sufficient knowledge of the distinguishing features of Feet,” by Rubens, £1,600. "Cook's Shop,” by Teniers, || the art, to enable them to judge of the beauty and .£500.

general character of a building, upon the fixed prinLord Orford greatly disapproved of the amount of ciples of taste. the valuation, and the judgment with which they were | The preface to this first part, as far as it extends, we valued. The Czarina, paid, however, only £36,000 ; || have read with much pleasure, and with due respect and in disgust, retained the pictures in their packages for the memory of its distinguished author. We offer during her life. They are now added to many other the following as a specimen, and sball insert some of pictures, preserved in a part of the Imperial 1Vinter | the very interesting notes, by which the subject is Palace at St. Petersburg. called the Hermitage. augmented by the researches of Mr. Gwilt, in a future

Mr. Angerstein gave £4,500 for the Sebastiano del || page. Piombo, and £1,600 for the Emperor Theodosius, by | " As many sorts of knowledge, very opposite in their Vandyck.

natures, come under the architect's consideration, his genius must be of a complex sort, endowed with the viva

city and powers of imagination, requisite to produce sublime A Treatise on Civil Architecture, by Sir William Cham or extraordinary compositions; and at the same time, with

the industry, patience, and penetration, necessary to inves. BERS; with Notes, and an Examination of Grecian

tigate mathematical truths, discuss difficult, sometimes Architecture, by JOSEPA Gwilt, Architect, F. S. A. irksome subjects, and enter into details of various sorts, London: Priestley and Weale.

often as tiresome as they are necessary; a genius equally

capable of expanding to the noblest and most elevated con(Continued from p. 223.)

ceptions, or of shrinking to the level of the meanest and

minutest enquiries: as Doctor Johnson expresses it. "a THE plates in the folio edition of Sir William Cham mind, that at once comprehends the vast, and attends to bers's work on Architecture, have been universally

the minute.' accepted as the most beautiful and correct that ever

“Dispositions of this nature are seldom found, their con

stituent qualities are in some degree incompatible, and appeared on the art. That work, however, is now

hence, perhaps, chiefly arises the rarity of complete masbecome scarce, and its vast size almost confined it to ters in the profession. The lively student naturally strikes the office of the professor, as a book of reference,

into the paths which afford most scope to his fancy; he This small edition removes that objection, and at the

exercises himself in the arts of composition, and in the

different branches of design, improves his knowledge of same time embraces all that is valuable in the original; painting, sculpture, books, and structures; forms his taste, for although the plates are reduced from the folio, to and turns his whole attention towards the sublimer parts of the imperial octavo size, the proportions of all the

the art, neglecting all the while, the inferior knowledge, engraved examples of architecture, plate for plate, are

80 useful, so absolutely necessary in practice, and of which

a perfect master can never be ignorant. Ambitious to expreserved with the utmost mathematical precision, and cel, he must not neglect attainments, without which he are executed with a clearness, spirit, and beauty, equal, cannot operate, while they may be purchased at the exand in many respects superior to their prototypes.

pence of industry and steady perseverance.* The work is finely printed, on superior paper, and

"A celebrated Italian artist, t whose taste and luxuriance we may say with confidence, that when the six parts

• The architectural student will do well to keep in mind what Sir Joshua Reynolds says on another art, and which is quite appli

cable in our own. "In this art, as in others, there are many painting and Mechanics. The best edition was published by Raf teachers, wbo profess to shew the nearest way to excellence, and faelle du Fresne, fol. Paris, 1651 ; translated by J. F. Rigaud, with many expedients have been invented by which the toil of study a life by J. S. Hawkins, 8vo. 1802. Twelve volumes of Tracts and might be saved. But let no man be seduced to idleness by specious Designs, MSS. were preserved in the Ambrosian Library.

promises. Excellence is never granted to man, hut as the reward A large volume of his drawings, preseryed by Pompeio Leone, of labour. It argues, indeed, no small strength of mind to persevere which belonged to King Charles I., is now in his majesty's collec in habits of industry, without the pleasure of perceiving those adtion, fac-similies of which have been published by J. Chamberlain, vances, which, like the hand of a clock, whilst they make hourly Esq. imp. fol. The best criticisms upon his works are those of advances to their point, yet proceed so slowly as to escape observaMarriette and Bottari. Drawings in his majesty's library, by tion."-Second Discourse on Painting. Holbein, L. da Vinci, and the three Caracci, bave been engraven and + Giov. Battista Piranesi, the celebrated engraver, is here alluded strictly imitated, under the care of F. Bartolozzi, and published in to. He was a Venetian, and was born in 1720. His death bapthree volumes, imp. folio, by J. Chamberlaine, Esq.

penned in the year 1788.

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