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| ILLIAN ; a Fairy Tale. ment and passion."--Somerset House Gazette, June 5, « The fragmental sketches exceedingly remind us of the Man of

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« 'Tis a most melancholy tale-both the subject and the style are after Adam Blair, but that does not prevent the Author exhibiting | London: Printed by SHACKELL and ARROWSMITH, Johns great and original talent in many of the descriptions."-Blackwood's son's Court; and published by W. WETTON, 21, Fleet Stre Magazine, June.

to be had also of all Booksellers and Nerdsmen.

10.

And Literary Museum:

OR, WEEKLY MISCELLANY OF FINE ARTS, ANTIQUITIES, AND LITERARY CHIT CHAT. No. XLV.) By Ephraim Hardcastle.

[SIXPENCE. d stamped Edition for Country Circulation, postage free, Price Tenpence. WORKS ON THE FINE ARTS.

picture, fresh and warm in effect, with all the repose of nature.

6. The Market Man and Woman with Vegetables, by W.

Mierig. A most elaborate performance, in the highest British Galleries of Painting and Sculpture, comprising a

class of art. General Historical and Critical Catalogue, with separate |" A Stiff Breeze," by W. Vandevelde. A very beauNotices of every Work of Fine Art in the principal Collec- || tiful production, admirably true to nature, and sweetly tions. By C. M. WESTMACOTT. London: Sherwood,

coloured.

“ A Dutch Fair,” by Lingelback. An extraordinary Jones and Co.

fine picture, with a great variety of characters well grouped, (Continued from p. 271.)

the perspective grand, and the humour of the scene ex

cellent. THE NEW GALLERY AT MR. THOMAS HOPE'S.

" Figures with Vegetables," by W. Mieris. A companion

to the former. “Entering the New Gallery, we commence on the left

" A Storm,'' by W. Vandevelde. The water splashy and hand of the door.

clever, and the horizon full of the convulsive effect of " A View in Holland, with Figures,” by Berkheiden. A nature. lively, clever specimen of the master, in fine perspective,

• The Sybil's Temple, with a Waterfall-Figures and the figures characteristic, and well grouped.

Cattle in Foreground," by Berchem. A well-known gem of “ Fruit-piece," by Van Os. A brilliant composition, the master, in his happiest style, frequently engraved. rich in colour and transparent effect.

“ The Consent to Marry, with Interior of a Church in 16 A View in Holland," by Vanderheiden. Fresh and Background,' by Vanderneer. The two figures are very clear in tone, with good perspective effect.

expressive of the story, the still-life in the foreground ex“ Two Figures, supposed to be Portraits,” by Rem- || quisitely painted. brandt. A very choice picture of the master, exhibiting

" Large Enamel of St. Cecilia,” by Bone. A very exhis usual excellencies of colour, drawing, and breadth of quisite gem by this distinguished artist. effect.

1 * " Miniature Portrait,'by Denner. Equal to enamel in 66 Interior of a Room,' Figures at Luncheon, by John finish and colour. Steen. A singularly rich and fine figure, with great depth “ Large Enamel Portrait of Mrs. Hope,” from Dawe, by of perspective, variety of subject, and elaborate finisbing. Bone. A very choice and highly-finished portrait, full of

" Sea-view, approaching Storm,” by Backhuysen. The grace, and beaming with intelligence, brilliant in colour vessels are admirable, the horizon aeriel and true to and animated effect.

A. nature.

ndscape,' by Ruysdael * Exterior of a Cottage, Boors drinking,” by A. Ostade.

men, clear, free in colour, and crisp in pencilling, painted A little gem, in the first class of art, full of humour and with all the freshness of nature, and fine transparent choice effect, highly finished, and richly coloured.

keeping. “ The Temptation,” by W. Mieris. An elderly female, 6 Landscape, with Cattle," by Ommegauck. Richly whose countenance proclaims her office, tempting a beau coloured, and highly-finished; the horizon delightfully tiful young girl, who is seated in a garden, with a display

aerial. of elegant trinkets; an exquisite work, full of character,

* Landscape, with Figures Hawking,” by Berkheiden. A and rich in colour.

glowing little picture in colours, the figures well grouped, " Landscape, with Figures,” by J. and A. Both. A and full of expression. noble fine picture, glowing with sunny effect, transparent

“The Antiquarian,” by Van Tol. A very rich old head, in colour, and elaborately finished.

characteristic, and choice in effect. “ Landscape, with Boats and Figures in foreground," by

** View on a Canal-Boats,” by Berkheiden. A choice Zaftleven. A highly-finished little gem, brilliant, fresh,

little gem, equal in silvery effect to Ruysdael. and clear, in the most fascinating style of art. .'

6 Christ awakened in the Storm by his Disciples,'' by " The Parrot and Monkey," by Netcher, a male and

| Rembrandt. One of the grandest cabinet pictures in female feeding two favourites. A rich cabinet specimen, Europe ; the composition admirable, the expression anicboice in colour, and full of humour.

mated, and the convulsive heavings of the ocean, painted " Dead Game,' by Weenix. An extraordinary fine with all the appalling effect of nature. picture, painted with great truth to nature, and richness

66 The Reproval,' by W. Mieris. The youngster de. of colour.

tected playing at knuckles, (a Flemish game,) with a bowl; "A Flemish Family at Dinner, &c.” by Jobn Steen. a very choice little cabinet xem. Full of life and variety of character, the figures finely I 6 Infant Christ in Landscape," by Domenichino. An drawn and well grouped, and the general effect admirable.

extraordinary fine specimen of this great master, in the 66 Dog with dead Game," the companion to the former, happiest style of art. by Weenix. The dog, which is the size of life, is truly

A Dutch Festival,” by Gyssels. An extraordinary sürprising, and the hare is painted with all the softness of fine composition, full of humour and broad effect; there is nature; it is a very choice performance.

a multitude of characteristic figures, grouped with great " Death of Cleopatra," by Lairesse. Finely drawn, but || skill, and highly finished. not agreeable in colour, the dead figure, in the foreground,

66 Portrait of a Nobleman,” by Holbein. A singularly is admirable, and the story well told.

fine cabinet head of this early master. " A Calm," by W. Vandevelde. A clear, fine, aerial || - Virgin and Child, in Landscape,” by P. Perugino.

VOL. II.

LONDON, AUGUST 14, 1824.

Sweetly painted; the child is particularly soft, round, and I “ The Letter Writer,” a portrait, hy Metzu. A beaudelightful in expression.

Il tiful specimen, the drapery on the table astonishingly “ St. John preaching in the wilderness," by Breemberg. || clever A noble composition, in the very first class of art, full oi | " The Ancient Lovers,' by Ostade. A humorous little choice expression, grand ett ct, and harmony of colour. | picture, full of expression, and elaborately finished.

• Landscape--Figures and Boats in foreground," by J. " Buying Poultry,” by W. Mieris. An exquisite cabinet Griffier. A most elaborate work of art, finished with all gem, finely arranged, and finished in detail. minute attention to nature that is truly astonishing.

“ Fruit-piece," ly Vanhuysum. “ Landscape, with Figures," by J. Vanhuysum. A|| Com anion to the last-named,” by the same incombrilliant tine picture, chastely coloured, and the figures 1 parable artist. very animated

“ Man lighting a Pipe," by Schalken. Very fine effect, View in Holland,” by J. Vanderheiden. A pleasing, || and rich in colour. clear, and natural performance, highly finished, and very “ Man and Woman with Fruit," by W. Mieris. A comdelicately coloured.

panion picture, and a gem in the first class of art. "Female Figure, with brass Vessel," by Slingeland. An "Dead Game," by Weenix. A singularly rich specimen exquisite work of art, highly finished, rich in colour, and of the master, the live jay and lap-dog very animated and choice in expression. .

clever. “ Landscape- View in Holland," by Vanderheiden.

“ Diana with her Nymphs at the Bath, by Verholie. A " Companion to the last-named,” by the same artist. beautilul, ricii, and exquisite picture, drawn with grace,

" Two Female Figures,” by Ph. Vandyke. A rich ca and full of expression. binet picture, glowing with barmony of colour, and full of “ Landscape with Cattle," by A. Vandevelde. A soft, expression.

clear, refreshing work, closely resembling nature, and * The Wise Men's Offering," the figures by Polenberg. highly finished. A very clever picture, grouped, and painted with more ** Boors regaling,” by P. De Hooge. A characteristic than the usual breadth of this fascinating master.

picture, rich in colour, and choice expression. “ Interior of a Church,' by Vandeelen. A choice little “Interior of a Room, wich Figures,” by Uchterveld. picture, in fine perspective, with great harmony of colour. Rather murky in colour, but well drawn.

6 Female dancing, in Landscape,” by Raffaelle. A “ View in Rome, with Figures," by Vanderulft. A very curious relic of the graceful pencil of this divine artist, || beautiful picture, the religious processions finely grouped, exquisite in feeling and expression.

the whole classical in arrangement, and rich in colour. • Domestic Ponltry,” hy Weenix. A noble gallery pic " Sea-Nymph and Triton," by Poelenberg. Exquisitely ture, rich in colour and feathery effect.

fine, and highly finished. “ Female playing on an Instrument," by Terburgh. A "Christ restoring the Blind," by Schidone. A fine free true_picture, but in the early style of the artist.

sketch for a larger picture. “ Landscape, with Figures and Horses," by Karel du View on the Dort,” by Berkheiden. A chaste, clear, Jardin. Copied, I should think, from P. Wouvermans, and pleasing specimen. and closely approaching the great original.

"Flower-piece," by Van Os. A companion picture, " The Merry Cavaliers.”.

very rich in colour, and transparent eflect. " Interior of a Room-Soldiers drinking," by Terburgh. “The Judgment of Paris," by W. Mieris. Equal to Companion to the last-named, by the same artist, but in

enamel in finish and colour, the little genii, beautiful. very superior style; the dog is particularly fine, the ex round and fleshy, and the principal figures tinely drawn. pression in the figures excelent, and the whole highly " Landscape,'' by Rembrandt. An oval picture of extrafinished.

ordinary merit, and displaying the mighty hand of the " The Vinery," by John Steen. A humorous scene :

artist, and his close int

h natural eftect. groups of figures enjoying rural sports on the close of the * Cattle in a Landscape,” by Paul Potter. A very highlyvine season, rich in colour, and indl of characteristic effect. | finished little gem.

6 Small Landscape, with Sphinx in foreground,” by “ Christ and St. Thomas," by Vanderwerf. A most Vanhuysum. A clever little classical gem, worthy of the li graceful, highly-finished, classical picture, beautifully great name it bears.

drawn, and richly coloured. " Interior of a Room, with Figures by candle-light," by G. Dow. Certainly one of the finest cabinet pictures of the master, painted with a magical effect of chiar-oscuro,

A Treatise on Civil Architecture, by Sir William Chanapproaching the happiest eilorts of Rembrandt, and more exquisite in colour and elaborate finish.

Bers; with Notes, and an Examination of Grecian " Flower-piece," by Vanhuysum. An exquisite compo Architecture, by Joseph GWILT, Architect, F. S. A. sition, beautiful in colour and arrangement, transparent London: Priestley and IPeale. and brilliant in effect. “ Landscape," by Vanhuysum. A companion picture to

LIST OF PLATES IN PART I. • the Sphinx.'. " The Flemish Musician,” a portrait, by Mieris. A fine

GRECIAN ARCHITECTURE. characteristic head, beautifully drawn, highly finished, and

Parthenon, Athens.-Plate 1. richly coloured.

J. Guilt, del.

S. Porter, sc. " Å Calm,” by Backhuysen. A companion picture. " The Letter received," a portrait, by Metzu. The ex

The Primitive Buildings, 8C.-Plate l. pression in the principal figure while reading the letter,

W. Collins, del. W. Chambers, ino. J. Rofle, sc. the girl drawing aside the curtain from a picture of a ship, Regular Mouldings, with their proper Ornaments.-Plote2. denoting the communication is from a mariner, and the F. H. Groves, del. W. Chainbers, ino. R. Sands, sc. animated little spaniel, are all in the most felicitous style

TUSCAN, DORIC, IOXIC, ROMAN, CORINTHIAN. of art. 6 Landscape and Cattle,'' by A. Vandevelde. Sparkling, || W. Collins, del.

The Orders of the Ancients.- Plate 3.

W. Chambers, ino. clear, and true to nature

R. Sands, sc. “ Á Lande cape, with Figures," by Van de Helst. Richly

The Tuscan Order.- Plate 4. coloured, and transparent in effect.

|| F. H. Groves, del. W. Chambers, ino." J. Roffe, sc.

Hit before the rising of the sund must learn to u

Gollman's Volute described.-Plute 8.

tion. It is not only to female beauty that familiarity is W. Chambers,

S. Porter, sc. || death. Admiration, wonder, are transitory feelings; and

ll weli has Nature so ordained it. Peculiarities, also, cease The Roman, or Composite Order.- Plate 10.

to be peculiar by use: and he, therefore, who neglects to F. H. Groves, del. W. Chambers, ino. H. Lowry, sc.

record what he imperfectly knows, in the hope that he will PLANS AND ELEVATIONS OF PILASTER CAPITALS.

one day know it better, who waits for the fulness of informaPedestals for the Orders.- Plute 14.

tion, will find too late that he has sorleited advantages for W. Chambers,

H. Shaw, sc. which no accuracy of knowledge can compensate ; that he Designs for Il'indous.-Plate 26.

is attempting to describe or examine, with blunted feelings,

I that which owes its all to the very imperfection of his knowW. Collins, del. W. Chambers, ino. J. Roffe, sc.

ledge. These are the magical clouds of gold and crimson PRINCIPAL FLOOR.

that vanish in the glare of noon, the images of beauty which Plans of the Lord l'iscount Charlemont's Casine at

Hit before the fancy in the twilight of evening, and are disMarino.-Plate 37.

persed at the rising of the sun. But we cannot cull at W. Collins, del. W. Chambers, ino. W. Lowry, sc.

once the flower and the fruit, and must learn to be content

| with what Nature allows us.” TO HENRY WILLOUGHBY, ESQ.

1 There is not much of order or method in these voThis Design is humbly Inscribed by his most obedient Servant,

Plate 41. || lumes. The descriptions though complete in them

WILLIAM CHAMBERS. selves, do not fit into each other. They are thrown W. Collins, del. W. Charnbers, ino. J. Rolle, sc.

| together without any regard to their general unity.

This is bad ; if the work was merely geographical, it

is good, as conducing to variety and interest. The REVIEWS.

Doctor begins with Dunkeld and the adjacent romantic

districts. He starts off in a merry fit, which lass, with Tke Highlands and Western Isles of Scotland, containing

some interruptions, to the end of the journey. We are

Il sorry for it, because the Doctor is not naturally a wit, descriptions of their Scenery and Antiquities, with an

and he is obliged sornetimes to spur his muse into a account of the Political History, Ancient Manners, 8c. |

false gallop. Not seldom his jokes are awfully bad. By John MACULLOCH, M.D. &c. 4 vols. London: Long

| Besides it tends to the enlargement of his book to its man and Co. 1824.

present portentous size. We wish he had given us “ When a man once gets astride of a pen, no one || his facts and descriptions in one volume, and his jests knows where he will stop." This is not the only and good things in another, and we could have mixed general truth in these volumes, of which their author them to our own tastes. Of Dunkeld we can say furnishes at once the assertion and the illustration. nothing, and give no extracts from what the Doctor He has indeed gallopped away on his feathered Pegasus says. It is a beautiful spot, and well known to all at a fine rate. The mere outline of his career would || travellers in Scotland. The Duke of Athol's grounds fill some pages, and the description of his resting are very celebrated for their beauty. “ The extent of places fills four alarming octavos. But if the Doctor's the walks is fifty miles, and that of the rides thirty." journey be laborious and long, yet he is a pleasant In speaking of the natural charms of this district, the companion, and by a happy mixture of grave and gay, l Doctor is very severe on what he calls “the picturesque of lively and severe, he renders it a most agreeable | gentlemen, the Prices, and the Gilpins," and their tour. The general character of these volumes is given “ jargon" and “cant.” He is as severe against the in an introductory letter to Sir Walter Scott. They l professional theoretical gardeners, such as Brown, &c. are intended to contain a complete account of the land calls them “ the detestable tribe of capability Highlands and Western Islands of Scotland—with men." Doctor have a care-these persons have lelt sketches of their picturesque beauties—their local and their disciples and they are a waspish sect. historical antiquities-the manners of the people, and Of the “ Grampian Hills" he speaks at some length. their political and agricultural condition, tracing their || The propriety of this he vigorously disputes. “If gradual assimilation to the improvements of the rest | there is no such thing as a Grampian chain, as little of the empire, together with details of all such other || are there any Grampian Mountains that are intelligipoints, and particulars as make a part of his great || ble; since no one knows what or where they are unless leading design. The introductory letter is written in || all the mountains of Scotland are Grampian mouna way which delights and informs the reader. A vein tains !" The “ original blunder," he ascribes to of good humour sparkles through the general surface | Richard of Cirencester, and sets about proving it to be of wisdom, and makes it as pleasant and instructive aa blunder with an amazing sturdiness. The Doctor is piece of composition as we have lately read. Here is a great enemy to local traditions. Poor Pennant gets a specimen, and a fair one of its character :

terribly mauled for saying that the castle of Barry Hill “ If these letters owe something in accuracy and extent ** was the prison of Queen Gueniver the wife of of detail to the intimacy of long experience, I know not but | Arthur.” Here is a spirited diatribe against the antithat the advantages are counterpoised by the very failings

nterpoised by the very tailings I quaries :which flow from the same source. There is a vividness in || the first impressions of objects, which vanishes by repeti- | “But this is the scene of much heavier questions than

Queen Gueniver or a Grampian chain. There is no stronger are favored with a much longer and very erudite disinstance of the influence of a thing once said and once re

sertation on the ancient military usages of the Highpeated, than the labour which has been used in vain to subvert the popular theory respecting the place of the battle

landers. There are some pages of smart writing about of the Grampians. Some dreaming antiquary or random landscape gardening, from which we will quote a pasetymologist proposes something ; and, often, not much sage which more nearly relates to the leading object of knowing or caring what : another follows ; the mob, which

our publication :has always a dampnable adherence unto authority,' takes it all for granted, and it becomes a piece of philosophıy or history which Archimedes himself could not afterwards “ There is much, even yet, to excite our wonder, when move. Sibbald, who thought too much of frogs and butter we see the facility with which the opulent still yield up flies to be very trust-worthy in weightier matters, first their purses and their lands to the guidance of any new and misled the pack; and I doubt if Dr. Jamieson will easily || upstart pretender to taste in these matters. It is impossiset them right again. I remember visiting all these places ble that persons of such narrow views and mechanical hatwenty years ago, and then wondering how such a question bits, can succeed in an undertaking which requires, alike, could ever have been agitated at all. If the merest school. much taste and much education. It is not too much to say boy who had read his Tacitus had been asked the question, that it is the highest department of landscape painting; he would have said that such a battle could not have been implying the most perfect and universal intimacy with Nafought near Ardoch; because that place is in the very teeth || ture under every one of her possible forms, and an acquaintof a record, so pointed and so plain that it cannot be for a ance with the general rules and practical principles of art, moment mistaken. That Sibbald had never read that work, no less perfect. seems tolerably clear; but why my most learned friend “ The landscape gardener, using that term in its best Chalmers, that giant in all Scottish antiquarian lore, should || sense, has no such power over his materials and bis tools as go on believing, is a question which none but himself can the painter. Neither can he hope, nor ought he to desire, answer.

to convert the ground which he has undertaken, into a pic"It is provoking that the blackness of a book should give it || ture or a series of pictures. It is his business to study the anthority, or the antiquity of a folly render it wisdom. But natural character and tendency of the peculiar beauties or thus I suppose it must always be. If so shallow an antiquary 11 circumstances with which he has to deal; to follow and emas Gordon, or Sibbald, was to come forth now, his book | bellish nature where he can, not to force her to conform to would find its way to the snuff shop in a week, and he him- | a system. Thus he will ensure alike, congruity and vaself would either be laughed at or forgotten. Now, there is riety. An improver of this class will not attempt to reduce a dingy folio, not to be procured but at a high price, and a the mountain and the plain, the wide sweeping hills and the man, of whom we know nothing but the name, looming high narrow valley, to the same aspect. He will study the naand large through the mists of age. For no better reasons, tive physiognomy of the lake, the river, the glen, or the we venerate the one and believe the other; or go on disa acclivity; and he will study also the peculiar features of cussing interminably whether they are wrong or right, and each river, and of every hill or plain that may come under fabricating commentaries bigger than the originals, when || his command. To these he will apply his plantations, (for the reasonable proceeding would be to toss the whole into he has little else to work with) as the principles of beauty, the fire. Thus it is for our ancient history. Some drowsy and congruity, and effect, in nature and in art, direct; and monk, shut up in his cell, in Cumberland, or Shetland, or from these also he will remove what may interfere with the Paris.' (for it is pretty much the same where,) ignorant alike || character or the composition of the scenes which he may of the world and of books, betakes himself to the writing of have the means of thus extricating and improving. a chronicle, or a history, of people and lands which he never " Nor can all this be done as it ought, except by him who saw, and of ages that were past before he was born. And || is familiar with nature in all her endless forms, whose eye these become our historics, and our chronicles; to be be- is ever open to seize the most delicate and evanescent beaulieved, or disputed about, or collated, or rectified, and ties, who can discover where a peculiar feature of grace is finally, in some shape or other, to find their way into what | sutlocated or where it is imperfect, who can see where nais called history, and into what we believe to be belief. We || ture tends, what she might have done, and what obstrucnever think of enquiring how such a person procured the I tions a variety of accidents, in detect or in excess or in births, names, parentages, deaths, and actions, of an hun- | casual misarrangement, has thrown in the way of her atdred and forty British kings, from centuries when no one tempts. It is he whose eye is ever open to natural landcould write, or how he could describe motives, and charac scape, wbo has studied it as a painter does, and as none but ters, and battles, and trenties, even of his own times, when a painter can do, who is the true landscape gardener; and there was neither extended social communication nor ll it is thus, but thus only, that this occupation belongs excluprinted documents circulating, and when he himself was || sively to the landscape painter, and can, as a trade, properly alike a stranger to camps and cabinets. In our own times, belong to no one else. It is among the Turnirs, and the when every one is every where, and every person knows every | Wards, and the Martins, that we should choose our profesthing, and when there are tifty newspapers, and fifty more sional landscape gardeners; not among the Loudons and printed every day, all over Europe, we are troubled enough || the Reptons. These are not the architects of landscape ; to get at bare facts, and those who produce motives must they are the stone-masons of this branch of art. It is he invent them. And yet we believe in such a historian as this | too, who to the intimate and wide study of nature has added or the other ancient, because he happened to live five or ten an acquaintance equally intimate with the works of painters, centuries ago, and because his name is Boece, or Fordun, or who can alone extricate, from wild nature, the several chaBarry; osten, much worse names than even these. If a || racters under which she often conceals, rather than dismonk of Mount Athos or Carmel were now to write such || plays, her forms and her beauties. With the eye of Claude, histories of Turkey or Arabia, we should turn them into || he sees the landscape that Salvator might have overlooked; winding sheets for fish; but who knows whether a posterity and thus too he discovers, by the aid of Hobbima and Ruys. too will not be found hereafter, which shall buy them with dael, what, if his studies had been limited to Wilson, he gold, and swear to the truth of what their very authors pro

might have passed unnoticed. But, more than this, the duced as fiction."

landscape painter is not called on to do ; and more than

this, the judicious improver will never attempt. To enWhen he comes to Glamis be gives us a dissertation

deavour to manufacture landscapes fitted for painting, is to on Flemish architecture, and when at Glen Lyon we | exceed the legitimate bounds of improvement, and to

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