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

THE GALLERY with a SELECTION of the WORKS

of the Italian, Spanish, Flemish, Dutch, and English Schools, is OPEN to the Public from Ten in the Morning until Six in the Evening, and will be CLOSED on Saturday, the 14th of August. Admission, 1s. Catalogue 1s.

(By Order) JOHN YOUNG, Keeper.

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

THE WESTMINSTER REVIEW, No. III. published

this day, contains: I. Prosecution for vending antichristian publications-II. Blake on War Expenditure-III. Private Correspondence of Cowper-IV. Use of the Dead to the Living-V. Chari

4.

KNIGHT'S QUARTERLY MAGAZINE.

Nos. I., II., III., IV., V., 8vo. price 68. each; or Vols. 1 and 2, halfbound, price 258.

This Publication, which commenced on the 1st of June, 1823, is particularly recommended to the attention of those who may be desirous to subscribe to a work of general amusement and information. The Quarterly Magazine is distinguished for the variety of its contents. In addition to Essays, Tales, valuable Facts, and Poetry light and serious, it contains Critiques on works of permanent interest, whether published yesterday or before the invention of printing. All matter of mere temporary importance is excluded, in order that the Magazine may be a standard work; and, upon the same principle, party politics have no place in this publication, which offers a neutral ground to the scholar and the man of taste. Several of the most distinguished members of the Uuiversities are amongst its contributors.

5.

ABBEY, richly embellished with numerous highly-finished engravings and spirited wood-cuts, 28 in number. Price in balf-binding, elephant 4to. drawing paper, with early impressions of the plates, 21. 108.

table Institutions VI. Memoirs of the Court of Louis XIV. and the RUTTER'S DELINEATIONS of FONTHILL and its
Regency-VII. Greece and its popular Poetry-VIII. Travels in the
United States and Canada-IX. Redgauntlet-X. Newspapers-
XI. The Dancied-XII. The last days of Lord Byron. CRITICAL
NOTICES. Atherstone's Midsummer Day's Dream: a Tour in
Germany; Jones's Answer to the Review of his Greek and English
Lexicon; Rosaline de Vere; Effigies Poetica; Cobbett's Ride in
France: Cary's Birds of Aristophanes; Bentley's Historical View
of the Hindu Astronomy.

London: published by Baldwin, Cradock, and Joy; of whom may be had the second Editions of Nos. I, and II.

In 2 vols. demy 8vo. price 288.

6.

THE ENGLISHMAN'S LIBRARY; comprising a Series

of Historical, Biographical, and National Information, under the following heads:-1. English History, and Lives of Eminent Statesmen; 2. English Scenes, and Essays on subjects of National Importance; 3. Lives of Eminent English Philosophers and Writers; 4. Patriotic Poetry, including some pieces by Mr. Southey, now first published. 1 vol. 12mo. Price 4s. 6d.

7.

THE MEMOIRS of the MARCHIONESS DE BON-
CHAMPS, on La Vendee. Edited by the Countess of Genlis.
Translated from the French. Price 58.

Of an uniform size, price 5s.

MEMOIRES DE MADAME LA MARQUISE DE BONCHAMPS, sur La Vendee. Rediges, par Madame la Comtesse de Genlis. Reprinted from the Paris Edition.

8.

NARRATIVE of a PEDESTRIAN JOURNEY through HISTORICAL MEMOIRS on LA VENDEE, by

RUSSIA and SIBERIAN TARTARY, from the Frontiers of China to the Frozen Sea and Kamtchatka; performed during the Years 1820, 1821, 1822, and 1823, by Captain John Dundas Cochrane, R. N. Second Edition.

In one vol. post 8vo. price 88.

SOME ACCOUNT of the LIFE of the LATE GILBERT

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

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

"The fragmental sketches exceedingly remind us of the Man of Feeling, the abilities of the writer bearing no slight affinity to those of Mackenzie."-Examiner, June 27.

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

MADAME DE SAPINAUD. With an Appendix, containing Notices of the Vendean Generals. Translated from the French, 1 vol. foolscap 8vo., printed uniformly with the Memoirs of the Marchioness de Bouchamps. Price 58.

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

And Literary Museum:

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

No. XLV.]

By Ephraim Hardcastle.

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

WORKS ON THE FINE ARTS.

British Galleries of Painting and Sculpture, comprising a
General Historical and Critical Catalogue, with separate
Notices of every Work of Fine Art in the principal Collec-
tions. By C. M. WESTMACOTT. London: Sherwood,
Jones and Co.

(Continued from p. 271.)

THE NEW GALLERY AT MR. THOMAS HOPE'S. "Entering the New Gallery, we commence on the lefthand of the door.

"A View in Holland, with Figures," by Berkheiden. A lively, clever specimen of the master, in fine perspective, the figures characteristic, and well grouped. "Fruit-piece," by Van Os. A brilliant composition, rich in colour and transparent effect.

[SIXPENCE.

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

nature.

"The Market Man and Woman with Vegetables, by W. Mieris. A most elaborate performance, in the highest class of art.

"A Stiff Breeze," by W. Vandevelde. A very beautiful production, admirably true to nature, and sweetly coloured.

"A Dutch Fair," by Lingelback. An extraordinary fine picture, with a great variety of characters well grouped, the perspective grand, and the humour of the scene excellent.

"Figures with Vegetables," by W. Mieris. A companion to the former.

"A Storm," by W. Vandevelde. The water splashy and clever, and the horizon full of the convulsive effect of nature.

"The Sybil's Temple, with a Waterfall-Figures and Cattle in Foreground," by Berchem. A well-known gem of the master, in his happiest style, frequently engraved.

"The Consent to Marry, with Interior of a Church in Background," by Vanderneer. The two figures are very expressive of the story, the still-life in the foreground ex

A View in Holland," by Vanderheiden. Fresh and clear in tone, with good perspective effect. "Two Figures, supposed to be Portraits," by Rem-quisitely painted. brandt. A very choice picture of the master, exhibiting his usual excellencies of colour, drawing, and breadth of effect.

"Interior of a Room," Figures at Luncheon, by John Steen. A singularly rich and fine figure, with great depth of perspective, variety of subject, and elaborate finishing. "Sea-view, approaching Storm," by Backhuysen. The vessels are admirable, the horizon aeriel and true to

"Large Enamel of St. Cecilia," by Bone. A very exquisite gem by this distinguished artist. "Miniature Portrait," by Denner. Equal to enamel in finish and colour.

66

Large Enamel Portrait of Mrs. Hope," from Dawe, by Bone. A very choice and highly-finished portrait, full of grace, and beaming with intelligence, brilliant in colour

and animated effect.

"Landscape," by Ruysdael. A magnificent specimen, clear, free in colour, and crisp in pencilling, painted with all the freshness of nature, and fine transparent keeping.

"Landscape, with Cattle," by Ommegauck. Richly beau-coloured, and highly-finished; the horizon delightfully aerial. glowing little picture in colours, the figures well grouped, "Landscape, with Figures Hawking," by Berkheiden. A and full of expression.

"The Temptation," by W. Mieris. An elderly female, whose countenance proclaims her office, tempting a tiful young girl, who is seated in a garden, with a display of elegant trinkets; an exquisite work, full of character, "Landscape, with Figures," by J. and A. Both. A noble fine picture, glowing with sunny effect, transparent in colour, and elaborately finished.

and rich in colour.

"Landscape, with Boats and Figures in foreground," by Zaftleven. A highly-finished little gem, brilliant, fresh, and clear, in the most fascinating style of art.

"The Parrot and Monkey," by Netcher, a male and female feeding two favourites. A rich cabinet specimen, choice in colour, and full of humour.

"Dead Game," by Weenix. An extraordinary fine picture, painted with great truth to nature, and richness of colour.

"The Antiquarian," by Van Tol. A very rich old head, characteristic, and choice in effect.

"View on a Canal-Boats," by Berkheiden. A choice little gem, equal in silvery effect to Ruysdael.

"Christ awakened in the Storm by his Disciples," by Rembrandt. One of the grandest cabinet pictures in Europe; the composition admirable, the expression animated, and the convulsive heavings of the ocean, painted with all the appalling effect of nature.

"The Reproval," by W. Mieris. The youngster detected playing at knuckles, (a Flemish game,) with a bowl; a very choice little cabinet gem.

"A Flemish Family at Dinner, &c." by John Steen. Full of life and variety of character, the figures finely "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 "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 surprising, and the hare is painted with all the softness of nature; it is a very choice performance.

"Death of Cleopatra," by Lairesse. Finely drawn, but not agreeable in colour, the dead figure, in the foreground, is admirable, and the story well told.

"A Calm," by W. Vandevelde. A clear, fine, aerial

VOL. II.

LONDON, AUGUST 14, 1824.

of art. Landscape and Cattle," by A. Vandevelde. Sparkling, W. Collins, del.

TO HENRY WILLOUGHBY, ESQ.

W. Lowry, sc.

This Design is humbly Inscribed by his most obedient
Servant.
Plate 41.
WILLIAM CHAMBERS.
W. Chambers, ino. J. Rolle, sc.

W. Collins, del.

REVIEWS.

tion. It is not only to female beauty that familiarity is death. Admiration, wonder, are transitory feelings; and well has Nature so ordained it. Peculiarities, also, cease to be peculiar by use; and he, therefore, who neglects to record what he imperfectly knows, in the hope that he will one day know it better, who waits for the fulness of information, will find too late that he has forfeited advantages for which no accuracy of knowledge can compensate; that he is attempting to describe or examine, with blunted feelings, that which owes its all to the very imperfection of his knowledge. These are the magical clouds of gold and crimson that vanish in the glare of noon, the images of beauty which flit before the fancy in the twilight of evening, and are dispersed at the rising of the sun. But we cannot cull at once the flower and the fruit, and must learn to be content with what Nature allows us."

There is not much of order or method in these volumes. The descriptions though complete in themselves, do not fit into each other. They are thrown 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 Doctor begins with Dunkeld and the adjacent romantic districts. He starts off in a merry fit, which lasts, with We are sorry for it, because the Doctor is not naturally a wit, some interruptions, to the end of the journey. descriptions of their Scenery and Antiquities, with an and he is obliged sometimes to spur his muse into a account of the Political History, Ancient Manners, &c. 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.

The Highlands and Western Isles of Scotland, containing

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. 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 are intended to contain a complete account of the Highlands and Western Islands of Scotland-with sketches of their picturesque beauties-their local and 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 specimen, and a fair one of its character:

"If these letters owe something in accuracy and extent of detail to the intimacy of long experience, I know not but that the advantages are counterpoised by the very failings which flow from the same source. There is a vividness in the first impressions of objects, which vanishes by repeti

professional theoretical gardeners, such as Brown, &c. and calls them "the detestable tribe of capability men." Doctor have a care-these persons have left their disciples and they are a waspish sect.

a great enemy to local traditions. Poor Pennant gets terribly mauled for saying that the castle of Barry Hill "was the prison of Queen Gueniver the wife of Arthur.' Here is a spirited diatribe against the antiquaries:

"But this is the scene of much heavier questions than

Queen Gueniver or a Grampian chain. There is no stronger instance of the influence of a thing once said and once repeated, than the labour which has been used in vain to subvert the popular theory respecting the place of the battle of the Grampians. Some dreaming antiquary or random etymologist proposes something; and, often, not much knowing or caring what another follows; the mob, which has always a dampnable adherence unto authority,' takes it all for granted, and it becomes a piece of philosophy or history which Archimedes himself could not afterwards move. Sibbald, who thought too much of frogs and butterflies to be very trust-worthy in weightier matters, first misled the pack; and I doubt if Dr. Jamieson will easily set them right again. I remember visiting all these places twenty years ago, and then wondering how such a question could ever have been agitated at all. If the merest schoolboy who had read his Tacitus had been asked the question, he would have said that such a battle could not have been fought near Ardoch; because that place is in the very teeth of a record, so pointed and so plain that it cannot be for a moment mistaken. That Sibbald had never read that work, seems tolerably clear; but why my most learned friend Chalmers, that giant in all Scottish antiquarian lore, should go on believing, is a question which none but himself can

answer.

are favored with a much longer and very erudite dissertation on the ancient military usages of the Highlanders. There are some pages of smart writing about landscape gardening, from which we will quote a passage which more nearly relates to the leading object of our publication:—

"There is much, even yet, to excite our wonder, when we see the facility with which the opulent still yield up their purses and their lands to the guidance of any new and upstart pretender to taste in these matters. It is impossible that persons of such narrow views and mechanical habits, can succeed in an undertaking which requires, alike, much taste and much education. It is not too much to say that it is the highest department of landscape painting; implying the most perfect and universal intimacy with Nature under every one of her possible forms, and an acquaintance with the general rules and practical principles of art, no less perfect.

"The landscape gardener, using that term in its best sense, has no such power over his materials and his tools as the painter. Neither can he hope, nor ought he to desire, 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 authority, 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 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 dis- 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 saw, and of ages that were past before he was born. And these become our histories, and our chronicles; to be believed, or disputed about, or collated, or rectified, and finally, in some shape or other, to find their way into what is called history, and into what we believe to be belief. We never think of enquiring how such a person procured the births, names, parentages, deaths, and actions, of an hundred and forty British kings, from centuries when no one could write, or how he could describe motives, and characters, and battles, and treaties, even of his own times, when there was neither extended social communication nor printed documents circulating, and when he himself was alike a stranger to camps and cabinets. In our own times, when every one is every where, and every person knows every thing, and when there are fifty newspapers, and fifty more printed every day, all over Europe, we are troubled enough to get at bare facts, and those who produce motives must invent them. And yet we believe in such a historian as this or the other ancient, because he happened to live five or ten centuries ago, and because his name is Boece, or Fordun, or Barry; often, much worse names than even these. If a monk of Mount Athos or Carmel were now to write such histories of Turkey or Arabia, we should turn them into winding sheets for fish; but who knows whether a posterity too will not be found hereafter, which shall buy them with gold, and swear to the truth of what their very authors produced as fiction."

When he comes to Glamis he gives us a dissertation on Flemish architecture, and when at Glen Lyon we

"Nor can all this be done as it ought, except by him who is familiar with nature in all her endless forms, whose eye is ever open to seize the most delicate and evanescent beauties, who can discover where a peculiar feature of grace is suffocated or where it is imperfect, who can see where nature tends, what she might have done, and what obstructions a variety of accidents, in defect or in excess, or in casual misarrangement, has thrown in the way of her attempts. It is he whose eye is ever open to natural landscape, who has studied it as a painter does, and as none but a painter can do, who is the true landscape gardener; and it is thus, but thus only, that this occupation belongs exclusively to the landscape painter, and can, as a trade, properly belong to no one else. It is among the Turners, and the Wards, and the Martins, that we should choose our professional landscape gardeners; not among the Loudons and the Reptons. These are not the architects of landscape; they are the stone-masons of this branch of art. It is he too, who to the intimate and wide study of nature has added an acquaintance equally intimate with the works of painters, who can alone extricate, from wild nature, the several characters under which she often conceals, rather than displays, her forms and her beauties. With the eye of Claude, he sees the landscape that Salvator might have overlooked; and thus too he discovers, by the aid of Hobbima and Ruysdael, what, if his studies had been limited to Wilson, he might have passed unnoticed. But, more than this, the landscape painter is not called on to do; and more than deavour to manufacture landscapes fitted for painting, is to this, the judicious improver will never attempt. To enexceed the legitimate bounds of improvement, and to