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these painted symbols in my dreams, creaking on their was the following, contributed by the joint stock company rusty hinges, as they were wont to do some seventy or || of wit of the village of Troutbeck :eighty years ago. If we proceed thus, Mr. Hardcastle, you and your corre

“ Thou mortal man, that liv'st by bread, spondents will be likened, perchance, to old William Lily

What makes thy face to look so red ? the astrologer, that learned expounder of signs,-only that Thou silly fop, that looks so pale, he looked higher for his theme than you or I, or the worthy 'Tis red with Tommy Burkett's ale." contributor who signs himself J. B. P.

It would be idle waste of paper, pen, and ink, to ask, Did you know that strange mortal, John Julius Ibbetson?

" Some men are better knoon than trusted,' says the for you know every painter, I should guess, as the Yankeys

|| adage. Not so with John Julius Ibbetson.-Another story, have it. from the time of old Jonathan Richardson, inclu

to wit:sive, to the close of the last exhibition. May you live a He rented a house with a rural orchard and useful rarthousand years, and like another Wandering Jew, keep | den. I think there was a paddock too. It was just such a record of future centuries of art.

bargain as would suit a landscape painter who was philosoWhat I may say touching the general history of Ibbetson, pher enough not to covet a drawing-room. His landlord or Rathbone either, then, is not for your information, vener got no rent. So, said Mr. Otley, “ paint me a picture anable Sir, but for the amusement of your gossip-loving | nually, to the value thereof." * Agreed," said the readers;- such of them, at least, as may bave a stomach, || painter. But that thief of time, old Procrastination, would as that Nestor of art, Mr. N****"*e would say, for my call on Ibbetson, and sit in his chimney-nook, and they plain cookery of such odd fish.

would smoke toxether from month to month, and when Know then, gentle readers of Mr. Somerset House, that December came, “ The devil himself,' said Ibbetson, Ibbetson and Rathbone were two noted second-rate land “ cannot hold his pencil with his fingers cold. I'll do it in scape painters, who flourished in the joyous days of the the spring." thoughtless George Morland, who formed the apex of that To make an end of my story, the worthy landlord at triumvirate of eccentricity, tom-foolery, and talent.

length obtained somewhere about the average of three picIbbetson was superior to Rathbone, and Master George tures for four year's rent, and both parties, saith my inmuch cleverer than both rolled into one. These frolicsome formant, were content. blades would paint together, drink together, smoke toge Ibbetson was a clever artist, and painted with a free ther, and when royally how come you so?strip and touch; his palette was simple, and his colouring bright and fight together, for pure love. They were inseparables, until || fresh. I speak of his best pictures. He was expeditious, separated by the ring, when they had beaten each other Il generally worked “ from hand to mouth," and was much into a sort of half-sober reflection, sufficient to shake hands employed by the inferior class of picture-dealers, who like and take t'other magnum bonum.

himself were sots, and pot companions with him, Morland, Their excesses got them fame, and as I said before, en- and their aforenamed cronie, Rathbone. creased their patrons. Reasonable enough with those who | Some of the specimens of his best day are now in the poslove all that is outre, such would reason thus, when they || session of Mr. Edward Wyatt, carver to his Majesty, for did reason:-He that could paint like this when drunk, ll whose father they were painted. The elder Mr. Wyatt what could he not do when sober! But as Bonnel Thornton was one of the most liberal encouragers of the eccentric truly observed, “ The way to some men's patronage is not artist. to deserve it.''

From London to Ambleside is nothing on the map; in the imagination it is still less; from Ambleside to Trout

GEORGE MORLAND, beck is only a step. In this beautiful region of the picturesque--Ambleside-Ibbetson in his latter days took up

I have said before of this genius, that his grovelling assohis quarters. Once he sojourned in the little village of

ciates would swear that all art centred in their idol George. Troutbeck, and there he painted a sign.

This erroneous opinion, however, was not confined to the The little inn in this sequestered spot, so well known to

mercenary connoisseurs who surrounded his easel. artists, and so much noted by tourists, was kept by Thomas

About the year 1790, at the memorable epoch for the Burkett. These were days for living, and O! what nights

English historical painters, when the Shakspeare gallery for supping!-A roasted hare, a trout, pastry, good ale,

was in its zenith of attraction, Mr. W*******n, a great and healthful homespun sheets, for eighteen pence; but these

commercialist, was so possessed with this notion, that he days and nights are clean worn out of date.

engaged Morland to paint a Shakspeare Gallery, which was How Ibbetson contrived it mine authority knoweth not, ||

| to be exhibited in Ireland. George touched a good round but that he did get scored upon the slate beneath the clock, 11

eum, by way of ernest, made his con vives drunk with the to the tune of some four or five-and-twenty pounds, to the cash

Anahall cash, and lauvhed at the exregious gullibility of bis patron grief of mine host and his homely hostess, is as certain a

| I saw his sketch from As You Like It, the only one he fact as paying your shilling and kissing the book could designed for his employer, and it was, as you may suppose, make it.

far below criticism. What was to be done? The village held conclave. " Hell It should be told, to the credit of this very excellent is a genus," said the exciseman, “and a mortal kind heart,” || painter, in his own walk, however, that he was not vain of added the farrier. “ Dang it!' I regard him too,” said the || his talent. He knew exactly how he stood in art. “I can landlord. “He brings custom to the house," said the paint a better landscape than any living artist," said he, landlady, " and he will pay some time." " Ah! that hell" excepting De Loutherbourg, but I must knock under to wool, I'll be bound,” rejoined mine host, " and we must || hini, and be d-d to him.” wait.",

Peradventure your artistical readers may have no incur" I'll paint you a sign,” said Julius Ibbetson, and he | able antipathy to a little more prosing about the engravers kept his word like a Casar, and there I saw it, and that ll of the last age-your mezzotinto men of old. with mine own two eyes, as the market folks say, about seven years ago. The Sign.-Two heads, very well painted, the one a

M ARDELL slender, pale-faced, rather genteel subject, the other al Was a great favourite with Sir Joshua; he engraved some jolly, ruby-faced, farmer-looking wight; beneath which of the earliest and some of the best heads from his wonder

ous hand. He also worked for Hudson, the master of

RICHARD EARLOM. Reynolds, who, for all that Mr. Horace Walpole, and Mr. || One of the tip-top class of mezzotintoists. What a deProfessor Edwards, and Mr. Every-body-else, prosessing to || lightful set of plates are his fish, flesh, and fowl from tell more than they could prove, have said to his disparage- || Rubens and Snyders! His flowers too from Van Huysum ment, was a good stock, and sometimes a good sterling Il-the very touch of painting! His Liber Veritatis, from limner. He drew a head well, and a hand much superior Claude, how masterly! to his compeers, and to most of his successors. It is true, The finest bit extant, of this art perhaps, is the backhe was a matter of fact man, aiming not at the beau ideal, | ground to the Enraged Elephant. It is a master-piece of but only affecting to represent what he saw : which he oc- || texture, touch, and high finishing. casionally accomplished with credit to his pencil. M'Ardell, was a publisher as well as engraver, and lived

ZOFFANY. in Henrietta-street, Covent Garden. He was a jolly com- || Earlom's print of Colonel Mordaunt's Cock Match at panion at the artists' clubs, and well known in the Green

en || Luchnow, from the famed picture by Zotlany, is also Room. Quin and he were sworn brothers. Mac some- ||

worthy a notice in your page, good sir, because, as a wit tiines took up the pallette. He painted Quin in his

hath said, “it is a peg to hang a tale upon,touching the

composition. and buckler, from which there is a print engraved by The subject was originally painted in the East, by comhimself.

mission for Governor Hastings, and shipped for England. He also engraved a head of Garrick, which was painted |

T'he ship was wrecked and the picture was lost. Zoffany, at Paris, by Liotard, that eccentric, so well known among

or Zoffanii, which you will, fortunately took his passage in the cognoscenti for his humourous designs, and by the

another vessel. He arrived sale, and heard, with the phiworld at large, for his own strange humour in walking Lon

losophy of a stoic, that his labour was gone to the gallery don streets with a yard of beard, and attired as a “ turban'd|

of that ancient collector, but sorry connoisseur, old NepTurk."

tune, to whom, I verily believe, such ware is of no actual value, consideration, or use, than the Bourgeois

gallery to the comfortable fraternity at Dulwich. RICHARD PURCELL,

Zoffany, luckily, had got his original sketches and studies

| on board his own captain. A painter should live and die A mezzotinto engraver, was one of the old school of l) in such company. He set to work again, made out a sewars. He was an angler and fresh water fisherman, well || cond picture, with all the grouping, portraits of Hindoos skilled in the drawing of the finny tribe. Not only with

and Gentoos, Rajabs and Nabobs, of all casts and colours, the net, but with the three chalks, black, white, and red.

that choice spirit Jack Mordaunt, and his game cocks into Dick would scrape away hard and fasting with the graving

the bargain, and behold another composition, a fac-simile tool the six days, keep it up all night on Saturday, and

of the first. The painter kept his own council, as the early on Sunday morning, might be seen surrounded by a

story goes, and Governor Hastings was never let into the crowd of astonished gazers, sketching pike, carp, mullet,

secret. and tench, on shop shutters, with the spirit and truth of a In the picture of the Tiger Hunt, also engraved by boosing Brawer, or a muddling Morland.

Earlom, on one of the elephants, Zoffany has represented Purcell engraved from Sir Joshua. So did Houston, |

himself in the houder, with a musket : it was he who shot James Watson, J. Dixon, Finlayson, J. Pott, John Dean,

the tiger. I relate this, con amore, Mr. Hardcastle, as it Charles Corbutt, Wilson, Hudson, Spilsbury, Faber, and is a feather in the cap of a painter. Wherefore should not I think so did Humphrey, Greenwood, Spooner, Black

your men of genius do every thing well! All the fine moor, Elizabeth Judkins, and Edward Fisher. Most of || fellows in the East, the military eleves of " JOHN COMthese, with the exception of the lady, were characters, in PANY," swore the painter was a d-d good shot. our sense of the word, Mr. Editor, of whom your readers || Doctor Johnson, during his mortal career, never felt so may perchance learn something more in a future contri-||

| proudly elate as when in the chace, on a huge horse of bution.

Thrale's, on the Brighton downs, and spanking away, he Meanwhile the best engraved portrait of our worthy I heard a sportsman exclaim, " Zounds! Thrale, your old friend, Paul Sandby, is a mezzotinto by this said || learned friend dashes on as boldly as the most illiterate Fisher, from a picture painted from the heart, by his || fellow in the field!” (Paul's) friend, Francis Cotes, the prince of Crayon Postscript. I cannot endure to behold a fellow of genius painters.

out-done in any thing. Sandby, then in his prime, is seated at an open window, with a shect of paper upon the back of a book, sketching the adjacent landscape. He is a manly, good looking, gentlemanly figure, with a countenance beaming spirit and intelligence; with a lace frill and ruffles, and his hair touched

TO MAN. oft a la mode 1763.

No portrait painter, not even Reynolds himself, had, for PROUD, scornful man! thy soaring wing a time, so great a run as Cotes. He was followed from

Would hurry towards Infinity; London to Bath, and back again, with the ebb and flow of And yet the vilest, meanest thing fashion. He never could have done what he did but for

Is too sublime, too deep for thee; poor Peter Toms, the last of the ingenious and useful fra

And all thy vain imagining ternity of drapery painters, who worked alternately for

Lost in the smallest speck we see, him, and other fashionable limners.

It must be so :-for He, even He Toms, was the most fastidious settler of drapery upon re

Who worlds created, form'd the worm: cord: he would waste as it might seem, one, two, even three He pours the dew who fill'd the sea; bours in arranging the folds of a robe; but, when he had

Breathes from the flower who rules the storm. satisfied his eye, he would take his palette, or crayons, and Him we may worship-not conceive; dash away with such spirit and correctness, with such de

See not and hear not-but adore; ible freedom, as would make the sons of St. Luke

Bow in the dust, obey, believe; elevate the frowning brow of study, and smile benignant

Utter his name, and know no more. on the handy labours of their ingenious hireling.


Gork the Auowards theols 'in these Travels,

Just published in demy 8vo. price 128.-royal 8vo. 188..and ditto ||

This day is published, in octavo, price 8s. boards, with proofs on India paper, 248, Dedicated by permission to the Right Hon, the Earl of Chichester.


1 LAND, and ITALY, during the Years 1817 and 1818. PORT of HASTINGS. Ilustrated with 20 Engravings from

By ROGER HOG, Esq. original Drawings, by W. G. Moss, Draughtsman to His Royal

Author of " Grammont" and other Poems.
Higboess the Duke of Cambridge.
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Just Published, No. 1, Price 10s. 6d. of the ments of Divinity, History, Biography, Voyages and Travels, the Belles Letters, Poetry, and the English Drama. Prices of the more CARICATURES of GILLRAY; with Historical and Povaluable and upcommon Works are noticed for the convenience litical Illustrations, and Compendious Biographical Anecdotes of Purchasers; there is also a Synoptical Table of Contents, and Notices, and a General Index. A few Copies are struck off on large Paper, To expatiate non the originality of style, the fertility of ima. to arrange with the other Works of the Author.

gination, the fidelity of chararter, the force of expression, or the

endless variety displayed in the unique designs of his Artist, would Dedicated, by Permission to His Majesty.

be needless; for the political works of Gillray are almost as gene. In 3 vols, crown 8vo, 12. 163. boards.

rally known, not only in England, but on the Continent, and other ORIGINAL LETTERS, illustrative of ENGLISH HIS. foreign parts, as the events that gave the birth. Even the buTORY. Including numerous Royal Letters, from Autographs

morous designs of his prolific pencil, though characteristic of English in the British Museum, and one or two other Collections. With

manners, contain so much of graphic point," that like the humour Notes and Illustrations,

of his great predecessor Hogarth, they speak a language intelli. By HENRY ELLIS, F. R. S. SEC. N. A.

gible to the whole world whence, these are equally, with his poli. Keeper of the Manuscripts in the British Museum.

tical subjects, sought by the foreign collertor. ... This Work contains Portraits of King Henry the Eighth and

| By the English people then, a republication from the choicest bis Jester, Will Somers, from an Ilumination in that Monarch's own

plates, designed by their ingenious countryman, of sufficient dinnenPsalter, still preserved among the Royal Manuscripts in the British

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RAY are become scarce, some are worn out or destroyed, and the and a fac-simile of the Seal and Signature to the Carie-blanche which

expence of making even a selection from his best designs, amounts Prince Charles sent to the Parliament to save his Father's Life. Ito a sum, which but a small proportion of the admirers of his also from Autographs in the British Museum,

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This work will contain all the best designs of this celebrated ...No Epoch in the History of Europe is so pregnant with events

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London: Printed by SHACKELL and ARROWSMITR, John. the entire article for its own sake, as well as to exhibit the talents Ilson's Court; and published by W. WETTON, 21, Fleet Street : of the Author."-Monthly Magazine.

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SIXPExce. o d strmped Edition for Country Circulation, postage free, Price Tenpence. WORKS ON THE FINE ARTS.

form and crude verandah, features incompatible with the humble and retired residence of the cottager."

With a view to restore a style peculiar perhaps to Rural Architecture : or, a Series of Designs for Ornamen

this country, Mr. Robinson has addressed this volume tal Cottages. By P. F. ROBINSON, Architect. London:

to the public. Many of the designs which it contains Messrs. Carpenter and Son.

have been erected, and the author observes, that “his It has been remarked, that in proportion as the love || attempt has been to unite economy with elegance, from of the PICTURESQUE has encreased, the objects which || a persuasion that effect may be produced even with constitute its most engaging features have decreased. || the rudest materials, without increasing the expendiWhat has been lost in pictorial effect, however, we || ture.' must admit, in justice to the present improved state of || We accord with the author in his sentiments upon domestic architecture, has been amply compensated by this subject, applauding everything in architecture elegance and convenience. There is a characteristic | that is addressed to the approbation of the painter. In fitness according with some buildings at the same time, || saying this, we do not set up the painter as the director which prejudice or perhaps even taste looks for, and of the architect; far from this, for it is to him alone which cannot be dispensed with as long as we derive | that the painter is to look for examples in that art pleasure from the indulgence of such notions. That || which is to adorn his picture. form has a powerful charm over the sensible mind, is a | It is a curious fact, that in those ages when the art a truth as old as the first efforts of architecture; and had the greatest claims to the admiration of the painter as that noble science improved, so has the charm en- | in this country at least, that there were no professors of creased. That age, then, can have little feeling for art, || his art to benefit by the superior taste of the builder ; indeed, that can endure to behold the destruction of || and that in the present age, when topographical every vestige of the ancient style of building, whether || painting is pursued with that ardour and superior exof the gothic cathedral, or the pictorial manor house or cellence which it had never attained in any age or farm, without a sentiment of regret ; for many of the Il country, that scarcely any structure has been raised best and most agreeable associations are united with which could be selected as an object for pictorial rethese remnants of the ingenuity of the ages that are presentation. gone.

Hence, the architectural works that have been pubIt is true that many inconveniences are removed at || lished of late, will become an invaluable legacy to the expence of the picturesque. The painter delights | future generations of painters, who, in personifying the in deep ruts, hollow trees, and houses hoary with age. |scenery of the ages past, must have recourse to these The farmer, on the contrary, finds the superior con. || works, as the far greater part of the structures themvenience of the turnpike road, his advantage in growing I selves will have been destroyed either by time, or by timber, and encreased comfort in the modern dwel- | that rage for pulling down such monuments of ancient ling.

art, which has prevailed in latter times, and which is The author of this work regrets with regard to de- || still the order of the day, with too many projectors and signs for ornamental cottages, that “ in the most beau. || modern improvers. tiful parts of this country, the scenery is disfigured by We bere point to the ecclesiastical style of building, the most impotent attempts of the workman, unaided | with reference to the doinestic architecture of olden by the pencil of the artist; and that, even among the times. A few years hence, scarcely a specimen will be

English and Scotch lakes, the square, spruce, brick || left for the study of future topographical painters; for | house and tiled roof obtrudes itself at every turn, and the modern farm house, the barn, the stable, and all the carries back the ideas of the wanderer to the metropolis | surrounding buildings, however better constructed for and its environs ;" and adds, “ cottage architecture has || the purposes intended, will never by age or accident, so material an effect among the features of a country, become picturesque: convenience, with the least possiand occupies so conspicuous a place in the picture, || ble expense, being the first and last consideration with that it is well to consider what forms are most pleasing | the employer and the employed. and least obtrusive. The landscape draughtsman || This work on rural architecture, then, is principally complains with great reason that the gabled roof and addressed to persons of fortune and superior mental ornamental chimney, the mullioned window and culture. To such, who having a demesne, which they thatched penthouse are daily giving place to the Italian || would render delightful to the eye of taste, will sacrifice

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something to that superior sentiment, which is wrapped | pendants and ornamental barge boards. The leanto is sup

pendants and ornamental barge in the charm of the picturesque.

ported by rude uprights of oak, placed on stone plinths. The first elements of the style of the English orna

having branches in short lengths nailed against them;

creepers are trained to the posts.” mental cottage, were given, we believe, by Nir. Thomas Malton, the author of the celebrated work on perspec

We give this description froin the book, to show tive. Certain architects, and many improperly so

that by these ingenious methods of imitation, the most denominated, have aitenpted treatises, with designs

rural and pictorial structure may be copied, and with and plans of the cottage orné, since his time; the

all the agreeable characteristics of age, may be erected far greater part of which are 100 contemptible to deserve

with cheapness and dispatch. Upon a newly enclosed the name of art. Mongrel structures, devoid of charac.

Il estate, then, the tasteful possessor may now delight himter, fitness, or any single quality, to spare their de

self in creating as it were a scene possessing all the signers from even a portion of the disgrace of having

amenities which might arrest the painter and the poet

to select the rural imagery for a picture or a poem. spread far and wide such examples of ignorance and

The volume contains elevations, ground plans, and corrupt taste. The work nublished by Mr. Ackermann, of orna

perspective views of the various buildings which promental Rural Architecture, from the designs and plans

perly constitute the leading character of an old English by Mr. J. B. Papworth, rescued the profesion from the

estate ; namely, the gamekeeper's cottage, the bailiti's universal censure which followed these aberrations from

cottage, the farm-house, the gate-collage, the parsonletigimate art. In this work, in many of the examples,

age, the boat-house and fishing coitage, alms houses, the principles of taste were developed, as united with

a Swiss farm house, &c. &c., the whole of which fur. the domestic arrangements of the class of buildings

nish practical specimens of these structures, in which proposed, many of which have been adopted, wherein

the chimneys, porches, casements, and other parts are convenience, elegance, and comfort have been emi

| designed with characteristic fitness and true pictorial nently combined, without the sacrifice of one of the

taste. genuine traits of the picturesque. Many of the designs in this work, indeed, might well be designated Rural

REVIEWS Villas, a term which, derived from the structures themselves, might be said to originate with Mr. Papworth, | Tales of a Traveller. By GEOFFREY CRAYON, Gent. Lon- | and consequently belong peculiarly to the present age.

don: Murray. 2 vols. Sro. Mr. Robinson has taken somewhat of a new ground, Why does Mr. Irving continue to write “Geofrey or at least, he has confined his designs more particu- | Crayon, Gent." in the title pages of his books?-It is

the old English village style. His subjects are || a species of incognito which keeps nothing unknown, truly fitting to the object proposed-they are in the

and at this time of day savours largely of affectation. pure sense of the word, elucidations of Rural Architec- || But that is not the only quarrel we shall have to pick ture, in almost every example practicable, and efficient

with Mr. Irving. Why has he not written something to all the purposes assigned to each. We may add,

a great deal superior to the general character of these that we should feel gratification in seeing many of volumes? With occasional excellence they are neverhis designs adopted; and if we were rich in territory,

theless greatly beneath all their predecessors. They our villages and farms should certainly owe additional

are for the most part heavy, longwinded, and unininterest to his picturesque structures.

teresting. Mr. Irving is manifestly going down hill. The designs for this work printed from stone, are

We speak it advisedly—that “ The Tales of a Tra. agreeable specimens of that new style of art. Indeed

veller" will not add to his reputation. The Quarterly some of the subjects are so weli composed, and drawn

may praise him, because it praises all Mr. Murray's with so much taste, that we should suppose they were || books: the Edinburgh will do the same, because Mr picturesque sketches from old buildings, rather than

Irving is an American ; that is, not an Englishman. new structures to create a love for the picturesque,

But as to the praise of any other respectable literary We know not the extent of Mr. Robinson's graphic ll journal we very much question whether it will be powers, but we cannot help suspecting that the tastefull given. For ourselves, we never expected much from and very characteristic back grounds and landscape them. Mr. Irving is a person of no originality. He accessoires, owe something to the pencil of Mr. Harding, Il invents nothing. All his merit is in style. This has whose skilful execution on stone we have long admired. | become mannerism, and lost its charm. His sentiment

is full of sameness, his descriptions are quite fade, and “ Plate 1.-A very picturesqne structure, and No. 2, of a similar character, are designed for a gate lodge, has been ||

ll the humour which once delighied us, palls by repetierected. It consists of an entrance porch, a parlour, || tion. We are speaking both positively and comparakitchen, out-house, and cellar, with three rooms above. It | tively. The present volumes are below their brethren, was built of brick, roughcasted, and coloured; with stone

nell and yet they have some merit; but their merit is precisequoins, and dressings to the windows and doorways. The external timbers are painted in imitation of oak. and the ly of the same sort which belongs to their predecesroof is thatched with reed. The gables are enriched with sors.

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