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struck a light, and Wilson made a constellation of it. It showed that gentle usage might have tamed the lion, and conferred the fame of an Orpheus upon some happy patron. Unhappy, indeed, is the man, however exalted his rank, who, having the power and opportunity, wants the judgment to smoothen the way of a Wilson.

"Alas! he was too great to grovel; he felt that the paltry distinctions of fortune sunk into contempt before the riches of the mind. He wanted that yielding spirit which is due from the individual to the order of society and his own happiness, and disregarded the sober conformity of his better judgment to the ways of the world.

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and of meeting their friends at the social board. In the provinces of the kingdom people are distinguished for their disinterested hospitality. The Neapolitans are possessed of natural good sense, penetration and humour; they are naturally inclined to frankness; some of them, especially elderly men, have often an honest bluntness of speech; their shrewd and expressive eyes are often, however, the only vehicles of conveying their sentiments, and a mute conversation is carried on between two persons, of which a bystander who is not initiated in the mysteries of this telegraphic communication, has not the least suspicion. Their pantomime is excellent; they always accompany their words with gestures expressive of their ideas. Their re- • Upon this fatal reply to the message of the committee partees are generally ready and appropriate-even the laz- may have greatly depended the ill success of his future enzaroni shine in them. Under the last occupation by the deavours, to which he became a martyr. The members French, a general of that nation just arrived at Naples had opposed him with his patrons, which, added to his spurning his trunk carried to the hotel by a porter; on the fellow's rather than conciliating, the esteem of Sir Joshua Reyrequest of a certain remuneration, which the Frenchman || nolds, and the want of that better judgment in society which considered too much, the latter said he was well aware that now prevails, proved fatal to him. Naples was a den of thieves; the lazzarone shrugged up his "As the fortunes of Wilson declined (I had it from one shoulders, and with a half sly, half simple look, turned to who, when living, knew him intimately,) his manners and one of his comrades who was standing by," Non te l'aggio || language became gross and depraved; of which his appearditto," said he, “che non ce ne stanno chiu a Parigi de ance, as he grew old, partook. His nose became very large mariuoli, so tutti benuti ca ? Did I not tell you that and red, so much so, that boys in the street would call after there are no longer any thieves at Paris, for they are all him Nosey,' with which he was greatly annoyed. come here ?"

(To le continued.)

Some Account of the Life of Richard Wilson, Esq. R.A. with Testimonies to his Genius and Memory, and Remarks

on his Landscapes, &c. &c. Collected and Arranged by T. WRIGHT, Esq. London: Messrs. Longman and Co. ASSURED that this memoir would excite unusual interest, we were copious in our extracts in the last number. We again recur to the subject with pleasure, and beg to submit for the gratification of our readers, one or two specimens of the anecdotes and stories which are scattered amidst its pages, that it may be known, that the volume contains sufficient to interest the general reader, as well as the amateur of

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"These adverse points in the person and character of Wilson, arose probably from a degradation as naturally attendant upon sinking into poverty, as their antagonist vices are upon the degenerating influence of extreme riches; and are too salutary and instructive to be lost sight of morally, even in the character of the most eminent.

"Old Mr. Taylor, who copied the portrait after Mengs, under Wilson's own eye, says it was the custom, according to the sociable manner of the day, for himself, Wilson, Hayman. Dr. Chauncey, and other artists and gentlemen attached to literature and art, to hold a meeting or club at the Turk's Head, in Gerrard Street, at which half a pint of wine was the allowance, and it was never observed that Wilson (however irregular on other occasions) was to be tempted to exceed this quantity. It was here that Hayman, one evening, rallying Wilson, by assigning to him the palm of dissoluteness, was retorted upon by Dr. Chauncey, to whom he had appealed, by the reply, "It must be confessed, Hayman, that what you say of Wilson would be true, if we put yourself out of the question.'

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"The Turk's Head, in Gerrard Street, was celebrated for two clubs or societies, the one literary, the other of "Wilson returned from Italy, impressed with his own artists; and Wilson would, in his characteristic manner, powers, and in some contempt, not perhaps totally unme- point out to a brother artist any unknown member of the rited, of his contemporaries. His return excited some former, who chanced to pass, by whispering, There goes interest, and much criticism in the coteries of art, at that one of the Sapientia.' Trivial as such expressions may time; and those artists, &c., who then constituted them- appear, they are indicative of the character and manner of selves what they called a Committee of Taste, and led the || the man-they are often free notices of internal feeling. understanding of the public in art, sat in judgment several "At one of the meetings at the Turk's Head, Cosway, times upon him, and came to a resolution, purporting:- the Academician, who had been at court, attended in all That the manner of Mr. Wilson was not suited to the the gay costume of the drawing-room, with pink heels to English taste, and that if he hoped for patronage, he must his shoes, &c., but the room was so full he could not find a change it for the lighter style of Zucarelli.' They voted place. What,' said Frank Hayman, can nobody make also, in friendliness to Mr. W., that Mr. Penny (the acade- room for the little monkey?' Wilson laughed, and exmician who painted a fac-simile of the Death of Wolfe, claimed, Good G-d! how times and circumstances are &c.) should be deputed to communicate the resolution to changed; sure, the world is turned topsy-turvy, formerly Mr. W., which was done accordingly. Wilson, who was the monkey rode the bear, but here we have the bear upon painting at the time, heard it in silence, went on with his the monkey. This set the table in a roar, in which Haywork, but soon turned round, and very coolly, and in the man joined heartily, and rising, shook hands with Cosway, most contemptuous manner, gave such an answer to Mr. who received him with the greatest familiarity and politePenny, as sufficiently showed the thorough indifference in ness, and instantly every chair in the room was at his serwhich he held this self-constituted Committee of Taste. vice. "Notwithstanding the contempt which he showed for "Does not this speak volumes in favour of the feelings this decision upon the merit of his works, Wilson is said to of all parties? Is it not the way to that communion of have taken the hint in improving his style; a strong proof minds, which by gentle collison, promotes the polish, and of the power of his judgment colliding against the hard sub-sharpens the wits, of man? Oppose it to our refinestance of his temperament and prejudice, for he had looked with partiality at the sombre Rembrandt. The committee

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ment in manners;-how miserable is the contrast of that morbid military sensibility and barbarous politeness which

puts down collision of mind, and might, in the above case,
have deprived society of the lives and talents of two wor-
thy men?
(To be continued.)

THE LATE WM. SHARP, THE ENGRAVER.

HAD we received an earlier intimation of the decease of this distinguished artist, we should have offered a longer memoir of his ingenious career than the present occasion will afford. William Sharp was born about the year 1749.|| His father, a gun-maker of respectability, lived in Haydon Yard, Minories. He showed an early predilection for drawing, and was apprenticed to Mr. Longmate, we believe a bright engraver residing near the Royal Exchange. At the expiration of his services, it is said he continued to work in the shop of his master, when marrying, he commenced business for himself, and opened a shop, as a writing engraver, in Bartholomew Lane, where he long resided, and had much encouragement. We have his shop card, engraved by himself, which is superior in taste and execution to that of Hogarth, which has so often been the subject of observation among the collectors of graphic curiosities. Mr. Sharp, has often said, even latterly, that his first essay in engraving was made upon a pewter pot. His friends would have qualified this assertion, by substituting a silver tankard, but our artist loved truth, and insisted on the veracity of this humble commencement.

We cannot at present refer to dates, but somewhere about 1782 it seems he disposed of his shop, commenced a higher department of art, and resided in a private house at Vauxhall, where he began to engrave from the superior paintings of the old masters.

His merit began to display itself in the Novelists' Magazine, for which work, published by Harrison, in Paternoster Row, he executed some plates, from the designs of Stothard. Messrs. Heath, Angus, and Hall, contributed their talents at the same period to the graphic illustration of this very interesting octavo work. We could name twenty distinguished contemporaries lately living, who, on comparing notes when youngsters, were accustomed to go to Paternoster-row on the morning of publication, and purchase a monthly number of the Novelists' Magazine, wet from the press. To these volumes thus published, may be traced the origin of those beautifully illustrated books, brought out periodically, which have since raised the reputation of the British Press. Sharp contributed one print to Southwell's folio family Bible. "Moses striking the Rock."

Among the finest of his works we may mention "The Doctors of the Church, disputing upon the Immaculateness of the Virgin," from the picture by Guido, which in drawing, and fine execution, is superior to the plate from the same pictures by Chevalier Dorigny.

The plate from Mr. West's "King Lear in the Storm," is also a masterly example of line engraving, and worthy of any foreign school. A proof of this plate has long produced ten guineas.

No line engraver has been more successful in copying the original feeling of Sir Joshua Reynolds. The portrait of Mr. John Hunter, the great anatomist, is perhaps one of the finest prints in the world.

The magnificent print of "St. Cecilia," from Dominichino, is another example of his great and masterly hand. We know not where to point to a more bold and effective specimen of the calcographic art.

"The Witch of Endor," from the impressive picture by Mr.West, may be instanced as another splendid effort of his graving tool.

One of his works, however, of surpassing excellence, ||

should be mentioned, as it will be preserved as a monument
of his genius, to the discredit of Macklin, and the shame of
Bartolozzi, we refer to the plate of "The Holy Family," en-
graved by W. Sharp, from the picture painted for the His-
toric Gallery. Sharp was employed by the proprietor of
this Gallery to engrave a plate from this picture by Sir
Joshua Reynolds, and produced a work, which for light,
shadow, brilliancy, and all the highest attributes of the arts
was inimitable. An hundred proofs were taken from this
plate, and some few impressions, when Bartolozzi under-
took at the instance of Macklin to improve it, by nearly
obliterating the lines, and converting it into a dotted en-
graving. Not content with this, the vain engraver had the
presumption to alter the character of the heads by Sir
Joshua, substituting the feeble expression and insipid
gusto of his own for the originality and energy of this great
painter's conception!
(To be continued.)

TO THE

EDITOR OF THE SOMERSET HOUSE GAZETTE.
SIR,

In perusing your Gazette of last Saturday, and casting
my eyes over the extract taken from Mr. Dallaway's Work,
relative to the pictures by L. da Vinci, I perceived there
was a trifling inaccuracy in the statement (of the names) of
the possessors of his paintings; the celebrated one of
"Christ disputing with the Doctors," and supposed to be
in the most perfect state of preservation of any of his com-
position pictures, is no longer in the collection of Lord
Northwick, it having been purchased a few months ago by
the Rev. Holwell Carr, for the sum, as I have been told, of
£2600, and is now in that gentleman's Gallery, consisting
principally of the finest productions of the Italian school.
If you think any of your readers will feel an interest in this
communication, I hope you will not withhold it from them.
I am, Sir,
Your obedient servant,
PHILOGRAPHICE.

ENGRAVERS IN ENGLAND.

To the Editor of the Somerset House Gazette.
SIR,

THE liberal, candid, and independent spirit which characterise the pages of the "Somerset House Gazette" on all subjects of art that come under its notice, and the extensive services which it has rendered to our native school, claims the thanks of all British artists, and the esteem of all lovers of the various departments of the fine arts which they profess.

As a professor of the English school of engraving, then, Mr. Editor, allow me to subscribe my grateful acknowledg ments for the handsome manner in which you have asserted the claims of the ingenious who have successfully cultivated that arduous study.-It could not have found a more able advocate.

It would be no easy matter to discover how it has happened that engraving should have been held so cheap in the public estimation in this country, when it has been regarded in so superior, and at the same time in so just a light, abroad. One cause, however, of its low state of depreciation, and that perhaps the most material, may be traced to the narrow views of the original founders of the

Royal Academy, chiefly composed of painters, who, in their over-weening notions of their own superiority, as well as the superiority of their art, thought fit to throw a stigma upon engraving, by excluding its professors from a participation in the honours of a seat in that national institution. Far be it from me to assert that the same claims upon mankind for the honours bestowed upon painting, can be set up for engraving; for, compared with the painter, the engraver must always hold a subservient rank. It would be vain for the greatest engraver that the world ever produced, to maintain that the same extent of genius and general mental powers, were called forth to engrave such a picture as the Last Judgment, by Michael Angelo, or the Last Supper, by Lionardo da Vinci, that would be required to compose such stupendous works. Yet, to hold such artists as a Marc Antonio or an Audran, cheap, who could translate these sublime productions with perfection in their own art, and to the approval and even admiration of these great painters themselves, would be a presumption indeed. You will perceive, Sir, that I have borrowed from your style of reasoning in behalf of my profession. I could not find a more powerful authority, and fervently do I wish you would again take up the subject.

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painters, when devouring time has left no traces of their pencils.

"In modelling the plan of their Academy, I had the honour, as I was informed, to be particularly remembered by them. At length, the more effectually to prevent every chance that I might have of partaking the honours they were sharing, it was proposed that nothing less than a total exclusion of engravers should take place. Amazing, that men, who pretended to promote the fine arts, and reflect honour upon the King, could have the effrontery to present the public with a regulation equally contradictory and unjust! "When men are guided by false and underhand motives, they meet with eternal embarrassments, and are ever reduced to act with inconsistency. No sooner had the academicians passed this law, which in a manner gave the lie to the royal establishment, and which excluded every ingenious engraver and native of this kingdom, than they admitted among them M. Bartolozzi an engraver and a foreigner. The better to cover this glaring partiality, they pretended to receive him as a painter, and insisted up on his furnishing them with a picture, at the opening of their exhibition. This artist, insensible to that regard which he owed to his own profession, had the humility to comply with this collusion; and notwithstanding he was supposed by many to have had the assistance of his countryman, M. Cipriani, he produced a specimen, as a painter, from which he acquired no honour, for it was by far inferior to the generality of his works as an engraver.

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Your Somerset House Gazette" of last Saturday, has an article on the engravings of Sir Robert Strange, the reading of which urged me to offer you this, which I submit to your approval, alteration, or rejection. In that article it is observed,Bartolozzi was, I think, a member of the Royal Academy: this is said to have given great offence to Strange, who was unsuccessful in his attempts to be ad- The Academicians soon felt the disapprobation of the mitted a member of that body, particularly, as it was noto-public: their proceedings were universally condemned ; rious that the picture which the former painted as the and the real friends of the King regretted his having had preliminary to his academical honours, was either wholly such advisers. executed, or at least touched up by Canaletti (Cipriani).” Mr. Strange (afterwards Sir Robert) was said to be very ill used by the artists of his day, and in consequence wrote a book, entitled, An Inquiry into the Rise and Establishment of the Royal Academy," to which was prefixed a long letter to the Earl of Bute. This volume, of nearly 150 pages on the subject, was printed in 1775, and is now become a literary curiosity.,

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On the establishment of the Royal Academy, it was determined by its code of laws, that the engravers should not be eligible to a seat in its body. The mere title of associate being the utmost honour that this national institution would confer on a member of that profession.

Strange, roused by this unexpected side blow upon the reputation of his art, attacked the Royal Academy, then newly formed, and expressed his opinion at what he thus considered an act of great injustice, with becoming spirit. It would naturally excite the indignation of an artist of his very superior talent, he being indisputably the greatest engraver that this country had then produced, and scarcely inferior to the best in Europe, to see an institution, created under the immediate sanction and protection of the King, for the avowed purpose of benefiting the fine arts, by bestowing distinctions on the professors, and to find that his profession was to be excepted, and by one act of this body, marked with public degradation.

After a circumstantial account of the forming of the Royal Academy, with severe animadversions upon most of the members, many of whom certainly were of no great note; of such mediocre talents, indeed, as to excite surprise at their arrogance and self-conceit for thus excluding the engravers from a seat in their society, Mr. Strange proceeds with the following expose of their transactions, upon which I shall hereafter trouble you with my own opinions, and a few words upon the subject of inquiry, why engravers are still shut out from a seat in the Royal Academy:

"The next step of our academicians was more alarming, and affected me more particularly than any thing they had yet done. It was an attack upon the art of engraving: a profession which will transmit to posterity the works of

"To cover, therefore, their reprehensible conduct, they had the meanness to propagate a falsehood, viz. that they had copied this part of their institution, which regarded the exclusion of engravers, from the royal academy of painting at Paris. This they did when, at the same time, every one of them knew, that I had been received a member of that academy, as an engraver.

"This imposition being soon detected, they afterwards pretended that they had followed the example of the academy of S. Luke at Rome. Here, indeed, they had some sanctuary; but even this did not long protect them. Every one knows that the art of engraving, since the days of Mare Antonio, was never properly cultivated by the Romans. But was this a reason for excluding it from the Royal Academy of London? Several of the leading members of that academy at Rome, with whom I was well acquainted, frequently lamented to me, that this art had not met with proper attention in their academy. What a pity, the man of taste will say, that engraving was not included in the Roman, as well as in the Parisian, institution! Had Rome produced her Audrans, her Edelinks, &c. how many of the finest works of fancy would have been preserved, which time has now destroyed! And the man of a commercial turn will say, what riches would not such productions have brought into Italy, from all parts of the world! There is, however, a circumstance which I must mention, to the honour of the Romans, viz. that at the very time when these academicians of London were meditating to seclude me from the public attention, upon my return to my country, that very academy of S. Luke at Rome, which they pretended to imitate, did, in a full assembly of their body, over-rule the laws of their institution, and admitted me a member of that academy, solely from the merit which they were pleased to ascribe to me as an engraver. This fact, I flatter myself, is favourable to the art of engraving: it is a proof that this respectable body thought it deserving of every honour in their power, although it had not been originally cultivated by their academy.

"Our academicians being thus driven from the shelter they had taken at Paris and Rome, it became necessary for

them to assign other reasons to the public, for having ex-academy. He could easily have obliterated the unhappy cluded engravers. They therefore said,-that engravers were men of no genius,-servile copiers.-and consequently not fit to instruct in a royal academy. This, too, I am sorry to say it, was the language, as I was informed, held by their president. In short, every odium that could be devised, was thrown upon this art; and those who professed it were held out to the public, as too contemptible to merit the attention of this establishment.

divisions, which a few designing men had raised up. He could have united the arts, and have protected them in all their branches. The artists of every profession, who had any claim to true merit, wished for nothing more they would have gone hand in hand with him, in doing honour to themselves, to this country, and above all to the royal institution. But we are left to lament that he adopted measures not his own, and supported a plan that was dictated by selfishness, ambition and resentment: a plan of those the most indifferent artists in the kingdom, whilst a number of ingenious ones were not only excluded, but their characters most shamefully depreciated.

"I shall, indeed, so far agree with the Royal Academicians, that engravers in general are not qualified to instruct||which confined royal munificence to forty men, and many in an academy, no more than portrait painters, landscape painters, miniature painters, coach painters, &c. of which this academy is chiefly composed. It is well known that in all academies, properly regulated, the task of instructing is reserved for historical-painters and sculptors only: so that, in reality, if we set aside the foreigners, of whom one is an engraver, who are adopted to instruct in this academy, there are few of our Royal Academicians who are properly qualified to instruct, or capable of drawing a figure, with either propriety, taste, or elegance. Examine their works, and let their merits be put to the test. Nothing less than the illiberal treatment I have received from them could have forced me to arraign their abilities before the public. Let the public therefore decide between us.

66

"I could pardon the generality of these academicians, who certainly have no claim with posterity, for passing whatever laws were proposed by their leaders, howsoever inconsistent or improper; but when I see an artist of superior merit justify such proceedings, I confess I am much surprised. Such reflections must appear to every candid judge, not only an attack upon the reputation of the living, but upon the memory of many ingenious engravers, who had been esteemed as ornaments in the ages in which they lived. I believe I may so far acquit Sir Joshua Reynolds, as not to charge him with being the proposer of the exclusion; he having only given his assent to what was urged by others. But this was a great deal too much if his heart condemned it.

"Nobody knew better, or has more experienced, than Sir Joshua Reynolds, the importance of engraving; and especially in a country where the arts, yet in their infancy, were now to be improved by a school of painting. What idea can the reader form of a set of men, who, laying aside that regard which they owed to the arts in general, and honour of the Sovereign, were on this occasion so totally insensible of what could not but affect their own reputation? I appeal to their understandings, whether perpetuating the merit of their works to posterity, supposing them to be men of abilities, must not, in a great measure, depend upon the perfection of engraving, an art, which they meant to disgrace by this exclusion?

Since the memorable era of the revival of the arts, in the fifteenth century, I know no painter, the remembrance of whose works will depend more on the art of engraving than that of Sir Joshua Reynolds. This was not the case with the great masters, Titian, Rubens. Vandyke, &c. Their works have stood the test of ages, and yet they were munificent patrons of the arts in every branch, and in none more than that of engraving. How shall posterity judge of the generality of Sir Joshua's works, but by the prints which shall be transmitted from them? And had he reared up, under the protection of the Royal Academy, an Edelink, a Pontius, a Bolswert, with what superior advantage would he have appeared? I am very conscious of the merit of this artist, and on all occasions do it ample justice. The ideas which he adopts from the great masters, the agreeable adjustment of many of his figures, and the natural ease and grace which he generally introduces into his portraits, are highly worthy of admiration.

No man could have wished for a fairer opportunity of doing himself credit, by serving the arts essentially, than Sir Joshua had, when he was made president of the royal

"Not being able to defend their conduct, the academicians found themselves under the humiliating necessity of repealing their law, with regard to the exclusion of engravers. But what was the consequence? The remedy became worse than the disease. To save appearances with the public, they now resolved to admit a certain number of engravers; but still to bring, as much as possible, the art into contempt. Care was therefore taken, that the mode of admission should effectually exclude every engraver, who has any of that conscious pride, which the better artists always possess. These engravers are not to be admitted academicians, as in the royal academy of painting at Paris, but termed associates. At the same time a law was passed, by which engravers are expressly excluded from every advantage or honour in the academy. To complete what they had begun, and to throw the last odium, that could be devised, on this profession;-the diplomas of the academicians were signed by the King, and by which they were created Esquires; whereas those given to the engravers were conceived in the humblest terms, and signed only by their president and secretary. (To be continued.)

FAREWELL TO GREECE.

FAREWELL for ever, classic Land
Of Tyrants and of Slaves!
My homeward path lies far away
Over the dark blue waves;-
And where I go, no marble fanes
From myrtle steeps arise,
Nor shineth there such fervid suns

From such unclouded skies ;-
But yet, the earth of that dear land,
Is holier earth to me,
Than thine, immortal Marathon!
Or thine, Thermopyla!
For there my fathers' ashes rest,
And living hearts there be-
Warm living hearts, and loving ones,
That still remember me.
And oh! the land that welcometh
To one such bosom shrine;
Though all beside were ruin'd, lost,
That land would still be mine,-
Ay, mine-albeit the breath of life
Not there I breathed first-
Ay, mine-albeit with barrenness
And polar darkness curst.

The Bird that wanders all day long,
At sunset seeks her nest-
I've wander'd long-My native home,
Now take me to thy rest.

From Blackwood's Magazine of this Day.

BRITISH INSTITUTION, PALL-MALL. CLOSE OF THE PRESENT EXHIBITION.

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The Number to be published on the 1st of August, price 3s.

LA BELLE ASSEMBLEE will contain a highly finished

portrait of LADY MORGAN, engraved by H. Meyer, from au original drawing by W. Behnes, taken expressly for this Magazine; also two elegant full-length female figures in the most fashionable costume for August, appropriately coloured; and its usual variety of interesting tales, critical notices of New Publications, the English and French theatres, and productions in the Fne Arts, exhibitions, &c. &c. &c. Full descriptions of the plates of fashion, with the monthly bulletin of London and Parisian modes. London: Published by G. and W. B. Whittaker, Ave Maria Lane; and Oliver and Boyd, Edinburgh.

litical 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 inthe 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 humorous designs of his prolific pencil, though characteristic of English manners, contain so much of "graphic point," that like the humour 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, cannot, we presume, be received with indifference. Many of the plates of GLLRAY 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, and folly, to excite the laughter, pity, or contempt of mankind.

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 H. will not appear until September 1, after which, each part will be regularly published on the first of every succeeding month.

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

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