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JOHN LEWIS 1737.

ble many excellent performances, now lost, would have been secured to us, especially if he had recourse to some of the most ancient pieces; but, as it is, Caxton's works are valuable for little else than as being early performances in the art of printing, and as wrought off by him.

THOMAS WARTON, 1778.

MR. CAXTON appears to have been a very humble, modest and virtuous man. He often styles himself a rude and simple person, confesses his ignorance, and humbly beseeches the pardon of his readers, and their patience to correct his works; and expresses himself in other terms so submissive and self-abasing as are very uncommon, and more easily admired than imitated, &c. He was a man of no FRENCH versions enabled Caxton, our first printer, to more learning, than, as he ingeniously confessed, he had enrich the state of letters in this country with many vaby his knowledge of the English and French languages, inluable publications. He found it no difficult task, either which he modestly acknowledged, he remembered himself by himself or the help of his friends, to turn a considerable of his rudeness and unperfitness. By the account which number of these pieces into English, which he printed. he gave of his printed books, it sufficiently appears in how Antient learning as yet made too little progress among us, great favour and request he was with the princes and great to encourage this enterprising and industrious artist to men of his own time. publish the Roman authors in their original language: and had not the French furnished him with these materials. it is not likely that Virgil, Ovid, Cicero, and many other good writers, would, by the means of his press, have been circulated in the English tongue, so early as the close of the fifteenth century.

S. PALMER (OR G. PSALMANAZAR) 1733.

I CAN'T but observe, that the faults of his English are owing more to his long continuance abroad, than to the place of his birth; which will easily appear from an accurate observation of his language, and manner of spelling, which discover a foreigner more than a broad-spoken Kentishman, &c. Besides his accomplishments as a merchant, Mr. Caxton acquired a great deal of politeness, partly by his travels for thirty years, and partly by his frequent residence at the court of the Duchess of Burgundy, sister to King Edward IV. who caressed and patronized him very much, &c. As he was a person indefatigable and ambitious of applause, as well as earnest in promoting the glory of his own country, he read incessantly the history of his own and other nations; which at proper times he digested into order.

WILLIAM OLDTS, 1747.

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ALL our historians and other writers, who flourished in AND indeed that a man should, for twenty years toge- or near those times, and mention the introduction of printther, after age had crept over, and begun to make impres-ing into England, unanimously, and without hesitation, sions upon him, when others naturally covet a cessation ascribe that honour to Mr. William Caxton, Mercer and from labour, especially of the brain; that he (William Citizen of London. This modest, worthy, and industrious Caxton) should still, after he had given between fifty and man, hath been already noticed as an historian: he was threescore testimonies of his indefatigable diligence, in the also the translator of many books out of French into Enpublications he had made, which are computed to have glish; but he merited most of his country by introducing amounted to that number, and now, as he could be little the art of printing. less than fourscore years of age, that he should be desirous of giving still fresh and further instances of his zeal to promote and disperse the most virtuous examples and pious instructions among his countrymen; these, as they are no ordinary proofs of the painful services he bestowed upon them, so they have deserved no common acknowledgments.

JOSEPH AMES, 1747.

MR. CAXTON was a Citizen and Mercer of London; at the death of his master he travelled abroad in the Low Countries, as an agent or merchant, for the space of thirty years; his good accomplishments, and great knowledge of foreign traffic, procured him so much esteem at home, that he was joined in a commission with Richard Whitehill, Esq. to conclude a treaty of trade and commerce between King Edward IV. and the Duke of Burgundy, whose son afterwards married the Lady Margaret, King Edward's sister, in 1468: this lady was our printer's great friend and patroness.

ANONYMOUS, 1766.

WILLIAM CAXTON, who first introduced printing in Enland, bas, no doubt, been instrumental in preserving many things that otherwise would have been lost, but the misfortune was, that he was but an illiterate man, and of small judgment, by which means he printed none but mean and frivolous things, as appears from the catalogue of his impressions, given us by Mr. Lewis and Mr. Ames. Whereas, had he been a scholar, and had made a better choice of the works that were to pass his press, it is proba

EDWARD GIBBON, 1796.

IT was in the year 1474, that our first press was established in Westminster Abbey, by William Caxton: but in the choice of his authors, that liberal and industrious artist was reduced to comply with the vicious taste of his readers; to gratify the nobles with treatises on heraldry, hawking, and the game of chess, and to amuse the popular credulity with romances of fabulous knights, and legends of more fabulous saints. The father of printing expresses a laudable desire to elucidate the history of his country.

THOMAS ASTLE, 1803.

WILLIAM CAXTON hath been generally allowed to have first introduced and practised the art of printing, in England, in the reign of King Edward IV. He became a reputable merchant, and in 1464, he was one of the persons employed by King Edward IV. in negociating a treaty of commerce with the Duke of Burgundy, and was afterwards patronized by Margaret, Duchess of Burgundy, sister to that king. Caxton having received a good education in his youth, had a taste for learning, and made himself master of the art of printing.

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Post 8vo. price 108. 6d. boards, PRACTICAL GUIDE to the COMPOSITION and APPLICATION of the ENGLISH LANGUAGE; or a Compendious System of English Grammar, Literary Criticism, and Practical Logic, illustrated by appropriate Definitions and Rules, Examples and Exercises, arranged upon a Plan entirely New, and adapted to explain the Principles of these important Branches of Education, in such a regular and systematic manner, as to enable the Reader to apply the Rules contained in the Work to practical purposes.BY PETER SMITH, A. M. Teacher of English Composition &c. Edinburgh.

As the volume comprehends a complete course of elementary instruction in philology, composition, and reasoning, it may be considered as a desideratum which has not been hitherto supplied by any former publication, and will, it is presumed, be found a useful guide to all who are desirous of writing, speaking, and reasoning, accurately on any subject.

Printed for Oliver and Boyd, Edinburgh; and G. and W. B. Whittaker, London.

CARLISLE EXHIBITION.

For the promotion of the FINE ARTS in the North of England. PATRON, the Right Hon. the EARL of LONSDALE, R. G. &c.

VIEWS IN GREECE.

This day is published, in imperial 8vo. price 12s.-Proofs, on India paper, 4to. 17. 18.-Before the letters, imperial 4to. 1. 11s. 6d. The Second Number of

SELECT VIEWS IN GREECE.

By H. W. WILLIAMS, Esq. EDINBURGH.

This Number contains highly-finished Engravings of Corinth, Thebes, Mount Parnassus, Temple of Jupiter Panhellenius, the Acropolis, and Athens.

London: printed for Hurst, Robinson. and Co. 90, Cheapside, and 8, Pall-Mall; and A. Constable and Co. Edinburgh.

"This is a very elegant and characteristic publication." Universal Review, No I. The Third Number is in considerable forwardness, and will shortly be published.

IMPORTANT WORKS,

Printed for Harding, Trij hook, and Lepard, Finsbury-square. 1.

In 1 very large octavo volume, to be divided into Two at the Purchase.'s Option, for which purpose Two Sets of Title-pages will be delivered.

THE SECOND ANNUAL EXHIBITION of PAINT- THE LIBRARY COMPANION; or, the Young Man's

INGS, &c. by British Artists, will take place on Wednesday the 15th September, 1824, in the Rooms of the Artists' Academy, Finkle Street, Carlise.

Those Artists in the metropolis who may please to honor the Institution with their productions, are respectfully requested to forward them to Messrs. Pickford and Co. Wood Street, Cheapside, on Monday and Tuesday the 23rd and 24th August, with whom arrangements have been made for the conveyance of Pictures from London, by the Grand Junction Canal.

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Just published, by Smith and Elder, Fenchurch Street, London, price 108, 6d. each,

VIEWS of DUNDEE and CUPAR, engraved in the

finest style of Acquatinta, on a scale of 22 by 15 inches, and exquisitely coloured after the original Drawings taken on the various sites by Mr. John Clark, of London, being Nos. 14 and 15 of an uniform Series of Views, which will comprise the principal Cities and Towns of Scotland, sketched from the most picturesque and favorite points of view, and coloured on the spot by the same eminent Artist, who made the Tour of Scotland expressly for this great National Undertaking. The Views of Edinburgh, Dingwall, Dumbarton, Dunkeld, Elgin, Falkirk, Greenock, Inverary, Inverness, Linlithgow, Perth, Peterhed, and Stirling, are already published; Forfar and Renfrew will appear on the 20th Inst. and two other Views every Month till the Series be completed.

Any single View may be had at the above price, but those who order a complete set will be entitled to the Historical and Descriptive Account of the whole Series, and of Scotland generally, now preparing for this Work, and to be delivered with the last Engraving.

The whole dedicated by permission to His Majesty, who has been graciously pleased to honour this National Undertaking with his patronage.

Apply to the Publishers; to Edmonstone and Co. Prince's Street, Edinburgh; Chalmers and Collins, Glasgow; to other Agents in the different Towns; or to any respectable Book or Printseller in the Kingdom.

This day is published, with a frontispiece, in 12mo. price 68, a popular and highly interesting work, entitled

Guide and the Old Man's Comfort in the Choice of a Library. By the Rev. T. F. DIBDIN, F. R. S S. A.

In this Work the Author has endeavoured to furnish his Countrymen with a Manual towards the Acquisition of useful and valuable, as well as rare and curious Works in the several Departments of Divinity, History, Biography, Voyages and Travels, the Belles Letters, Poetry, and the English Drama. Prices of the more valuable and uncouimon Works are noticed for the convenience of Purchasers; there is also a Synoptical Table of Contents, and a General Index. A few Copies are struck off on large Paper, to arrange with the other Works of the Author.

2.

Dedicated, by Permission to His Majesty.

In 3 vols, crown 8vo, 1/ 169. boards.

ORIGINAL LETTERS, illustrative of ENGLISH HIS

TORY. Including numerous Royal Letters, from Autographs in the British Museum, and one or two other Collections. With Notes and Illustrations.

BY HENRY ELLIS, F. R. S. REC. S. A.

Keeper of the Manuscripts in the British Museum,

This Work contains Portraits of King Henry the Eighth and his Jester, Will Somers, from an Illumination in that Monarch's own Psalter, still preserved among the Royal Manuscripts in the British Museum; a Fac-simile of the Plan drawn by Lord Burgbley's own Hand, for the Arrangement of the Trial of Mary Queen of Scots; and a fac-simile of the Seal and Signature to the Carte-blanche which Prince Charles sent to the Parliament to save his Father's Lite; also from Autographs in the British Museum.

3.

In 2 vols. 8vo. with a Fac-simile of the rare whole length Portrait of Henry, by Gaultier, 17. 48. boards.

MEMOIRS of the COURT of HENRY the GREAT.

No Epoch in the History of Europe is so pregnant with events of consequence to subsequent Relations of Society, as the reigns of Elizabeth of England and of Henry the Great of France, contempo raneous in Period and Rivals in the Splendour and Genius of their respective Courts. Miss Aikin's elegant volumes have introduced us to a close Acquaintance with the Policy and Intrigues of the great Officers who directed the Councils of Elizabeth, and those of the Court of France during the same Period. are recorded only in the Works of Sully, Peretixe, and in the lighter Productions which develope the Memoires Secrets during the Reign of Henry the Great, and which form the Basis of the present History of his Reign.

"That the present work is ably written, and exhibits a spirited narrative of facts, will be manifest from the extracts which follow. The account of the massacre of St. Bartholomew is the fullest in

THE CONCHOLOGIST'S COMPANION; comprising our language, and so curious, that we have judged it proper to transier

the instincts and constructions of Testaceous Animals; with a general sketch of those extraordinary productions which connect the Vegetable and Animal Kingdoms.

Printed for G. and W. B. Whittaker, Ave Maria Lane, of whom may be had, by the same author, a second edition of "THE WONDERS of the VEGETABLE KINGDOM DISPLAYED." 12mo. price 68. and a CATECHISM OF CONCHOLOGY, price 9d.

the entire article for its own sake, as well as to exhibit the talents of the Author,"-Monthly Magazine.

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And Literary Museum:

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

No. XLVI.]

By Ephraim Hardcastle.

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

DICTIONARY OF THE FINE ARTS.

IN a former number this work was noticed as in preparation. The first of the six parts which are to complete the Dictionary, has appeared, and it is in every respect equal to our anticipations in its favor. The author, Mr. Elmes, observes, "such a work has never yet appeared in the English language; and although there are treatises in the French, Italian, and other modern languages, yet they are inapplicable in many requisites to the English student, professor, and patron of the British school of art."

[SIXPENCE.

composition of art, without being indispensably necessary, is called an accessory. In an historical picture, the figures which act are the principal objects: they give the idea of the action which the painter figures to himself; the rest are accessories.

"The artist who aspires to rise above mediocrity, should, above all things, be extremely reserved in the use and choice of accessories in his picture; he should use and place them in such a manner as not to hinder or spoil the effect of the principal group, with which they should always agree, and at the same time assist the general effect. "The most skilful painters and sculptors of antiquity have avoided accessories in their designs, that the eye might not be diverted by them from the principal figure or group; and a modern artist would do much better to omit them altogether than to introduce them improperly. Nothing is more insupportable to the true connoisseur than to see designs crowded with accessories, which have no connexion with the principal object, or where they are introduced only to fill up and hide the vacuity and emptiness of the principal subject: they disgrace the name of accessories, pressed into a service (they seriously injure) without judgand should only be regarded as useless supernumeraries,

ment or discretion.

That a work like this has long been a desideratum, with artists and amateurs, has been generally admitted. Its utility, however, is not confined to these. In an age like this, where society in general may be said to be thirsting for science, the fountain should be free. This publication is offered in a shape comprehensible to all, who may desire to enrich their minds, who even can read only in the vernacular tongue. Many would "ACTION. [actio, Lat. action, Fr.] In painting. The have created themselves a name in arts and sciences, series of events represented in a fable. (See SUBJECT.) had the fountain of instruction not been locked by the reality to description; it is the embodying of that moment Action, in painting and sculpture, is that which gives key of pedantry, and opened rarely but to the disci-of time which the author chooses to represent. Action is ples of the schools. sometimes confounded with motion (see MOTION), in sayAn epoch more fitting could not have been chosening a figure has action," meaning "motion." In the arts for ushering this Dictionary before the public. It natural, and simple. Any thing that disturbs the unity of as well as in literature, an action should be true, connected, abounds with information no less generally interesting, the action always weakens the interest. than universally useful, and will make a volume that "AFFECTATION. [affectatio, Lat.] The art of making an no one, with the least pretension to intellectual enjoy-species of which is sometimes called by the French conartificial or deceitful appearance. This fault in art, a ment, can take up, and lay down again without plea-tourne, and relates to outline only, is equally to be avoided sure and improvement. by the painter, the sculptor, and the architect. Affectation is the certain result of an abandonment of the simpli

As a book of reference it will be useful to the scho

lar, to the artist, and to the connoisseur, and of impor-city of nature, in colouring, in drawing, or in action; or tance to the rising generation, as it will contain much colouring, drapery, outline, or appearance is given to any where either is overcharged and false; or where artificial information directly tending to elucidate a thousand one of the branches of the plastic arts, instead of a more objects alluded to in their classic studies, which even natural arrangement. in the best schools, are too frequently only known by

their names.

applied in this country to persons who are attached to any "AMATEUR. [Fr.] In all the arts. A French term much

of the arts, but who do not practise them: but in France it The present number extends no further than the is granted by academies to such as associate with them with letter A. under which we select the following as speci- similar qualities. Although we have no such description mens of the character of the work, by which, limited of members in our Royal Academy of the Fine Arts, the annual exhibition generally produces a considerable number as must be our extracts, our readers may perceive its of amateur artists of much talent, who are honoured by an general utility, in furnishing the mind with a know-exclusive catalogue of their names under the appellation or ledge of the true import of the nomenclature of art, and of enabling the admirers of architecture, sculpture, painting, engraving, and other elegant and noble arts and sciences, to converse upon such subjects, with that propriety and good taste, which becomes the people of an enlightened age:

"ACCESSORIES. [accessorius, Lat. accessoire, Fr.] In painting. Additionals. Every thing that enters into a

VOL. II.

title of Honorary Exhibiters," and are admitted to all the public lectures given in the academy, in the same manner as the members, students, and professional exhibitors.

·

"To be a genuine amateur, it is necessary that the person so called should possess, besides a sufficiency of critical knowledge, some practice, and an allowed good taste, or he will fall under Milizia's censure of Amatori senza amore, conoscitori senza conizitioni,' which is similar to that of the Russian Count Stroganoff in the preface to the Catalogue Raisonne of his fine collection of pictures,Delivre nous,

LONDON, AUGUST 21, 1824.

of the critical amateur.

grand Dieu, de ces connoisseurs sans connoissance et ces
amateurs sans amour.' The French phrase Il ne sait pas
peindre, mais il est amateur,' well expresses the character
"ANATOMY. [anatomia, Lat. àvarouía, Gr. from ava and
Tepew, I cut.] In painting and sculpture. The doctrine
of the structure of the animal body, particularly that of
man. By this science an artist can alone obtain the know-
ledge of the bones, or osteology, and of the structure of
those external layers of muscles, on which depend, in a
great measure, a just ponderation, motion, and expression ||
of his figures.

bers of the profession, under like circumstances, before he demolished these venerable remains, made accurate drawings of the various parts, and has given to the world this work, which will perpetuate the memory of Mickleham, and with it his own reputation, to the esteem of future generations of antiquaries.

equal to that for which he conditioned to complete the restoration and enlargement of the structure. Hence, we owe to the discovery of drawing on stone, this very interesting book, which will add to the stock of antiquarian research, and contribute another pleasing volume to the graphic library.

To the lithographic art must be ascribed the preservation of this relic, for it could not be supposed that the author would have attempted this publication, in line engraving, or other expensive modes of calco"For this reason anatomy is one of the principal ele-graphy, which would have demanded a sum, almost ments of art; and the study of it should not solely be confined to proper anatomy, but should also, if the artist would attain eminence, be extended to comparative anatomy. The best course of study, for a student in the arts, is to obtain a general knowledge of the principal bones and external muscles, their names and uses, to accustom himself to draw often, both from the skeleton and occasional dissections. To compare his drawings and his observations with the most perfect and beautiful specimens of ancient and modern statues, and the living model. To do the same with those masters whose paintings are most celebrated for anatomical expression and correctness. As Raffaele, Michael Angiolo, the Carracci, &c. and observe the defects of others. He will finally, by this means, obtain a confidence and correctness of delineating the wonderful human machine. The best books for study would be pointed out by any medical friend; but he must not omit consulting that admirable work, Bell's Anatomy of Expression in Painting, in which the author has treated the science both as an artist, and as an anatomist."

WORKS ON THE FINE ARTS.

The chuch of Mickleham claims very high antiquity (says the author). The form of the circular headed windows in the chancel, the arch dividing the the chancel from the nave, and the western door-way," to which there are references in the plates, "indicate the Anglo-Norman period; but as the records have been unfortunately lost or destroyed, the exact date of its erection can only be judged of by analogy. As much elegance of form is displayed in the original building, a little time may not be altogether misapplied in endeavouring to ascertain this period, by comparing its general outline and the figure of its mouldings, with those of other churches, where the age is decided."

To elucidate by this test, the author has not been wanting in diligence or intelligent research.

The

Illustrations of Mickleham Church, Surry, with Remarks on the Architecture of that Building. By P. F. ROBIN-illustrations are selected from remaining specimens in SON, Architect. London: Carpenter and Son, 1824. our oldest sacred structures, and drawn on stone; these Two architectural works, illustrated by prints from are printed on slips, and accompanied by letter-press stone, from the lithographic press of Mr. Hullmandel, observations, a feature of the work, which is addressed claim the notice of our pages this week. We take up to the general reader, as well as to the amateur of the subject with pleasure, as they come fairly under architecture, and which cannot fail to excite a correthe class of publications for which we consider draw-sponding interest. It is indeed by the judicious introing on stone particularly applicable. One is a hand-duction of these simple examples of art, that the mind some quarto volume on Rural Architecture, the other, is imperceptibly wrought upon, and seduced, as it were, that before us, which per eminence, we shall notice into a love of science.

first.

The architectural scraps herein introduced are:—
1. A window in the Chancel of Barfreston, to compare

Mickleham Church has long been known, to the
topographical enquirer, as one of the most picturesque
remains of old English ecclesiastical architecture, and
has often been the subject for pictorial imitation.
This venerable pile, one of the few existing records of
the taste and skill of the monkish days of old, remain-conventual Church of St. Cross, Hampshire.
ing near the metropolis, had gone to decay, and the
author, in his professional capacity was employed to
repair it.

with the windows in the Chancel of Micklebam.

2. Enrichment round the great western entrance of the Church at Bieville, near Caen in Normandy, supposed to have been erected about the year 1080.

3. Interior of the Window of the North Transept of the

To effect this, it was necessary to pull down a great part of the old structure, which, with our devotion to every scrap of architectural antiquity, we could not but regret. The architect however, with that good taste, which we hope will be followed by other mem

4. Archivolt of the Chancel Arch at Barfreston Church, exhibiting the double billet enrichment, and the zigzag ornament of chevron work, to which are added Capitals of Ancient Columns in various buildings about the same period.

The advantages of a work like this, are likely to be more extensive to the arts, than one indifferent to these pursuits may suppose, for in this age so zealous for the general improvement of the rising generation,

such publications may be regarded as stepping-stones to knowledge. The ardent minds of well-educated youth, of each sex, after looking upon the illustrations of this church, will, when making a tour in company with their parents or preceptors, bear the recollection on their travels, and discover the same features in the

ancient buildings which they view, and thereby acquire a practical system of judging on a science, not only delightful in itself, but interwoven with the most interesting associations of our domestic history.

Plate 1. of this work exhibits a Ground Plan of Mickleham Church.

Plate 2. Section from East to West of the Interior, as it was previous to the alteration.

Plate 3. North West View of the Exterior.
Plate 4. South East View of the Exterior.
Plate 5. View looking East, taken within the Organ
Screen.

Plate 6. View looking East, taken from the Organ Gallery.

Plates 7. Arch to the Norbury Pew.
Plate S. View of the Chancel.

Plate 9. View looking West, taken from the Chancel. Plate 10. View from the South Gallery looking towards the Chancel.

Plate 11. The Organ Gallery, with the Ancient Font.

years

forms to which the devotion of early ages and
gave birth. A better feeling, however, has offre taste
displayed itself; and the care and attention which has been
exerted in restoring our cathedrals to their ancient purity
and magnificence, will, it may be hoped, soon extend itself
to our churches. The science of architecture has become
a favourite study with many of our nobility, and the time
from the control of the spoiler.

may be at hand when our village churches will be rescued
"Previous to the Reformation, every attention was paid
to our sacred edifices, and wealth was lavished in creating
effects which certainly inspired religious awe. The very
reverse of this feeling is now unfortunately observable in
our country churches; and it is not surprising that the
rustic enters the place of worship with little ceremony,
when neglect is evident throughout, when its sacred walls
are covered with dust and damp and cobweb; the very
altar more desolate than the rest. At a time when the
seceders from our national religion are daily increasing, it
is surely not impolitic to consider the causes which occasion
defection, and among many others, this want of attention
to the building dedicated to the service of the Deity may
be considered most important. Were the comforts of the
poor attended to by affording them proper accommodation
in the parish church, numbers would be withheld from
joining the Dissenters, and from becoming hostile to our
venerable establishment."

Plate 12. The West Door and Porch, with Ancient || The Art of Drawing on Stone, giving a full explanation of Tombs.

Plate 13. The Sepulchral Chapel, or Oratory. With five additional plates of Elevations, Ornaments, &c., making together a most interesting series of illustrations of this truly picturesque church, thus perpetuated by the good feeling and real love of art, which does so much credit to the artist.

the Various Styles of the different methods to be employed to ensure success, and of the Modes of Correcting, as well as of the several causes of failure. By G. HULLMANDEL. London: Ackermann, 1824.

OUR opinions upon the pretensions of this new discovery to the encouragement of the artist and amateur, its tendencies to spread more extensively the love of art, its capacities, its limits, and peculiar properties, were briefly given in a late number. We intend to enlarge upon, being now in possession of this to resume the subject, which we feel more competent

We should not have dwelt so long on this thin quarto, the plates of which as works of art, are so inferior to the exquisite line engravings by the Cooke's, the Le Keux's, Pye, Golding, and others of our inimi table school of topographical engravers, but from the conviction, that publications like this of Mickleham Church, by their comparative cheapness, their pic-ingenious and intelligent treatise. For the present, we turesqueness, and other recommendatory qualities, will spread a love for art, promote enquiry on affairs of taste, and lead to that higher species of connoisseurship, which will encrease the demand for that superior class of publications, which will secure to the artist and to the publisher, rewards commensurate with their encreasing talent and liberal spirit of enterprise.

We are not inclined to dismiss this subject, without another extract from the book, as the thoughts of the author, not only coincide with our own, but are such as we venture to assert, cannot be too generally made known.

"It is much to be regretted that our country churches, many of which exhibit features of great architectural beauty, and which are valuable to the antiquary and man of taste, for the historic recollections they afford, are daily perishing from neglect, or mutilated and distorted by the hand of ignorance, while no protecting care is exerted to save them from destruction. The incumbent, for obvious reasons, is unwilling to involve himself in a dispute with his parishioners, and the churchwardens are left at liberty to add thicker and thicker coats of whitewash, (if they do no worse,) aided by broad stripes of lamp black, concealing

shall only say, that after much consideration upon the who are of opinion that drawing on stone and printing question, we cannot bring our minds to agree with those, therefrom, will be injurious to those who profess the higher and more elegant departments of engraving on copper and steel; for, to repeat what we have said before, in proportion as general taste is spread, so will exhibited in the finished works of calcography, will connoisseurship improve, and the surpassing excellence ratio of their intrinsic worth, and superiority over the always be appreciated and patronized in the exact

works on stone.

The process for drawing on stone is thus explained by the author :

"1. The lithographic stone the most in use, and which answers the purposes of the art the best of any, is a calcareous stone, obtained from the banks of the Danube, in Bavaria. It unites the qualities of purity, whiteness, and hardness, in a greater degree than any which have been discovered in other countries; in common, with stones of a similar nature, it imbibes both water and grease with avidity, and it is solely on this last property that lithography is founded: for when a series of lines, of a greasy

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