public buildings are fine, and the rest is a desert. Of the president he speaks very favorably :

:

Hired and servile writers may abuse as much as they please the people and government of the United States; but fortunately, whatever they may say, they cannot pre"Shortly after my arrival at Washington, as I was one vent the Americans from advancing by gigantic strides today coming with a friend from visiting the public offices,|| wards the acme of wealth, power, and population. Who he pointed out to me a well dressed gentleman, walking by can contemplate without astonishment the spectacle they himself. That,' said he,is the President of the United already offer? With a vast extent of territory rapidly coStates. When this great personage met us, my friend in-vering with population; and with a revenue of 23,000,000 troduced me to him. I took off my hat as a mark of dollars (without direct taxes), and a surplus 3,000,000 dolrespect; upon which the President did the same, and shook lars after defraying all the expenses of the country (a pheme by the hand, saying he was glad to see me. I went soon nomenon unknown in Europe); their commerce is so conafterwards to pay my respects to him at his house, in comsiderable, that America has become the rival of Great pany with the same friend. We were shewn into a hand- Britain herself, and is the only maritime power that can some room, where the President had been writing. When give her any uneasiness. Yet forty-seven years ago, this he came in, he shook us by the hand, requested us to sit grand nation consisted only of a few insignificant colonies, down, and conversed upon a variety of topics. I may here supplied in all its wants by the mother country, which, for observe, that whenever, in America, you are introduced that purpose, employed but a few ships. to any one, the custom is to shake hands. I like this custom, as it is much more friendly, and puts you more at your case, than the cold formal bow, with which, in England, and indeed in most of Europe, you are greeted at the performance of this ceremony. I was very much pleased with the unaffected urbanity and politeness of the Presi dent, so entirely different from what I should have met with on being introduced to a person of anything like the same importance in Europe. When going to pay my respects to a Duke of Tuscany, or even to a petty German prince, whose whole territory was not larger than a county in one of the United States, I have had to dress in a court uniform, and to pass by a whole file of soldiers, and then by half a dozen pages, officers, and chamberlains, with gold keys at their pockets, &c. But the President of the United States received me in my ordinary morning dress; and, though he is Commander-in-chief of the army and navy, has no need of sentinels at his door, being sufficiently protected by the love of his fellow citizens.

"I can safely say, that the manly simplicity of the President impressed me with much more respect, than the absurd mummery of European potentates. Yet surely if pride can be tolerated in any man, it must be in him, who (like President Monroe) has been placed at the head of the government of his native country, by the unanimous suffrage of eight millions of his fellow citizens. How much more has he to be proud of, than the petty distinction of birth or fortune; and what an immeasurable distance between him and a German Princeling! Yet, to judge by their manners and bearing, you would fancy the Prince was the greatest man on earth, and the President merely a private individual; whereas the one is a most unimportant personage, except in his own opinion, and the other is really a great man.

"No people, in the same space of time, has ever made a hundreth part of the progress; and to what is this progress owing? To freedom."

From Washington the author proceeded across the Alleghany Mountains, and down the Ohio. We will make a few extracts from the description of his route :

Stage Coaches.

"The American stage-coach on this road, and indeed upon all other roads on which there is no opposition, is constructed somewhat like the market-carts in the neighbourhood of London, being a long waggon upon springs, with canvass sides and a light wooden top. You enter into it from the front, and find in the inside four rows of seats one behind the other, the first of which is partly occupied by the driver, who is in some measure protected from the rain by the projection of the covering. This vehicle, although an uncomfortable one, seems to be better adapted for travelling on some of the bad stony roads, than any four wheeled carriage The Americans always drive four-in hand, with the pole very low, and not braced up to the collar, as in England. The horses are in general good, and the usual rate of travelling from five to six miles an hour.

Rifle Shooters.

"While the stage was stopping a short time in order to water the horses, and to allow the passengers to take some refreshment at a small inn on this mountain, I oberved two hunters, who had just come in with some turkies they had killed, were each of them carrying one of the long heavy rifles peculiar to the Americans. As one of them, an old man, was boasting of his skill as a marksman, to be his if he could hit it. Accordingly I stept the distance, and placed the half-dollar in the cleft of a small stick, which I thrust into the ground. The hunter, slowly raising his rifle, fired, and to my great astonishment struck the half-dollar. This was the first specimen I had seen, of the unrivalled accuracy with which the American hunter uses his rifle, and which I had afterwards still greater reason to be surprised at when in Kentucky.

"A short time before my arrival at Washington, there occurred a fine example of Republican simplicity. Jefler-I offered to put up half a dollar at a distance of fifty yards, son, Madison, and Monroe, happened to meet together at the opening of a college at Charlottesville in Virginia. I suppose this is the only instance on record, of three men, two of whom had been, and one of whom actually was, at the head of the government of the self-same country, meeting by chance, and, in the most unceremonious and friendly way' passing the evening together. There were four Presidents alive when I was in the United States,—Adams, Jefferson, Madison, and Monroe."

There is a chapter on the government, which is not very remarkable, except for the liberal spirit in which it is written. Our author is a great admirer of the American Republics, and speaks of them in raptures. One blessing he tells us they enjoy, and a great one it assuredly is "I never saw a beggar in any part of the United States; nor was I ever asked for charity, but once, and that was by an Irishman." Again:

Kentucky Officers.

"Old General Scott and two or three others,' said my landlord, were sitting one evening in a log-tavern, when England States, and called for a half pint of whiskey. in came a tolerably well-dressed stranger, from the New The landlord informed him, that he did not sell it in such small quantities. The old General, who was very fond of whiskey, said, Stranger, I will join you and pay half; whiskey was brought, and the General, who was to drink therefore, landlord, give us a pint of your best.' The first, began by saying to the stranger, Colonel, your good

"The great river Illinois, passing through the State of that name, and falling into the Mississippi, takes its rise almost on the very shore of Lake Michigan. During the|| high waters after rain, the Indians, even at the present time, pass up this river and enter the Lake in their canoes, there being a complete water communication. This circumstance is a very curious geographical fact, and shews by what a very slight dividing ridge' the waters that find their way to the ocean through the St. Lawrence, are separated from those that rush into the channel of the Mississippi. Hence, almost without an effort, a canal could be cut, joining Lake Michigan with the Illinois river, which is broad, deep, sluggish, and otherwise peculiarly adapted to navigation. I have before mentioned, that it is the intention of the State of Ohio to establish a communication with the great Lakes, by means of a canal through its territory. So easily, and at so trifling an expense can this be effected, that the State of Ohio, though so young, has determined to begin it immediately.

“Let any one, with the map of the United States before him, contemplate this vast chain of inland navigation. The Great Lakes, and the interior of the North Western territory, will be connected with New Orleans and the Gulf of Mexico on one side; on the other with New York, by the Great Canal; and with Lower Canada and the St. Lawrence by means of the Champlain Canal. Were it not useless in the present age, to insist upon the well known advantages of free institutions and popular governments,

figure can give no aid in the study of the countenance. of the muscles, he should attentively observe the play of Here the lessons of anatomy, taken along with the descrip- the muscles when thrown into action and attitudes of viotions of the great poets, and the study of the works of emi-lent exertion; but, chiefly, he should mark the action of nent painters, afford the only resource. the muscles during the striking out of the limbs. He will But even for the anatomy of the body and limbs, the soon, in such a course of observation, learn to distinguish academy figure is very far from being an infallible guide. between posture and action, and to avoid that tameness The display of muscular action in the human figure is but which results from neglecting the play of the muscles. And momentary, and cannot be retained and fixed for the imi-in this view, the painter, after having learnt to draw the tation of the artist. The effect produced upon the surface figure, as it is usually termed, would do well to make the of the body and limbs by the action of the muscles, the academy figure go through the exercise of pitching the bar, swelling and receding of the fleshy parts, and that drawing or throwing or striking. He will then find that it is chiefly of the sinews or tendons, which accompanies exertion, or in straining and pulling in a fixed posture, that there is an change of posture, cannot be observed with sufficient accu- universal tension and equal prominence of the muscles; racy, unless the artist is able to class the muscles engaged and that in unrestrained actions only a few muscles rise in the operation; and unless he have some other guide strongly prominent, and are distinctly characteristic of that than the mere surface presents, which may enable him to action. He will not, perhaps, be able to catch the characrecollect the varying form. ter of muscular expression, and commit it to paper at once; but with accurate notions of the classification of the muscles, and of the effect of each action in calling into exertion particular sets of them, knowing to what point his observation should be applied, and correcting his perceived notions by the actual appearance of the limb, each succeeding exhibition of strength will accelerate his progress in the knowledge of anatomical expression, and in correctness of design.

When the academy figure first strips himself, there is a symmetry and accordance in all the limbs; but when he is screwed up into a posture, there appears a constraint and want of balance. It cannot be supposed, that, when a man has the support of ropes to preserve him in a posture of exertion, the same action of inuscles can be displayed as if the limbs were supported by their own energy; and, in all academy drawings, we may perceive something wrong where the ropes are not represented along with the figure. In natural action there always is a consent and symmetry in every part. When a man clenches his fist in passion, the other arm does not lie in elegant relaxation: When the face is stern and vindictive, there is energy in the whole frame: When a man rises from his seat in impassioned gestures, there pervades in every limb and feature a certain tension and straining. This universal state of the body it is difficult to excite in those who are accustomed to sit to painters; I see them watch my eye, and where they see me intent, they exert the muscles. The painter, therefore, cannot trust to the man throwing himself into a natu-ral posture; he must direct him, and be himself able to catch, as it were intuitively, what is natural, and reject what is constrained. Besides, those soldiers and mechanics who are employed as academy figures are often stiff and unwieldy; and hard labour has impaired in them the natural and easy motion of the joints.

Until the artist has gained a perfect knowledge of the muscles, and is able to represent them in action without losing the general tone of the figure, he is apt to produce || an appearance like spasm or cramp in the limbs from one part being in action, while the other is loose or relaxed. For it is always to be remembered, that whether the body be alive or dead, whether the limbs be in action or relaxed in sleep, a uniform character must pervade the composition. Whether the gently undulating line of relaxed muscle be the prevailing outline; or the parts be large and strong, and the muscles prominent, bold, and angular; there must be perfect accordance, otherwise there will be no beauty of expression.

I think that in the sketches, and even in the finished paintings of some artists, I have observed the effect of continuing to draw from the model, or from the naked figure,|| without due attention to the action of the muscles. I have seen paintings, where the grouping was excellent, and the proportions exact, yet the figures stood in attitudes when they were meant to be in action; they were fixed as statues, and communicated to the spectator no idea of exertion or of motion. This sometimes proceeds, I have no doubt, from a long continued contemplation of the antique, but more frequently from drawing after the still and spiritless academy figure. The knowledge of anatomy is necessary to correct this; but, chiefly, a familiar acquaintance with the classification of the muscles, and the peculiarities and effect of their action.

The true use of the living figure is this;-after the artist has learnt the structure of the bones and the classification

The true corrective for the faults we have pointed out, is to be found in the study of anatomy. It may well be said, that anatomy is the true basis of the arts of design; and it will, infallibly, lead to perfection those who, blessed with true genius, can combine correctness and simplicity with the higher graces and charms of the art. It bestows on the painter a minuteness of observation, which he cannot otherwise attain; and, I am persuaded, that while it will enable him to give vigour to the whole form, it will, also, teach him to represent certain niceties of expression, which, otherwise, are altogether beyond his reach.

Even in drawing from a particular model, the artist, who is versed in anatomy, has a great superiority. When I have seen a person, unacquainted with anatomy, drawing from the naked figure or from a statue, I have marked the difficulty which he experienced in representing the course of a swelling muscle, or the little depressions and convexities about a joint; and this difficulty I have traced to his total ignorance of the course and action of the muscle, the effect of which he was endeavouring to make out. The same difficulty is often felt in drawing the knobbed end of a bone, or the insertion of a tendon, which being under the integuments of the limb, are but very faintly distinguishable on the surface. These delicate and less definite indications of the anatomy, though easily traced by one acquainted with the structure of the limb, appear to the uninformed only as unmeaning variations in the outline, of the importance of which he has no means of judging, and in the imitating of which he feels the greatest difficulty, and is exposed to continual mistakes. While the knowledge of anatomy gives to the painter a spirit of minute observation, and leads him to mark those little niceties which add to the beauty of the whole, it also enables him to preserve correctness, and infuse vigour into his drawing; to catch that diversity which nature sets before him, and to avoid the representation of what is monstrous and deformed.

Suppose that a young artist is about to sketch a figure or a limb, feeble indeed will his execution be, if without knowledge he endeavours merely to copy what is placed before him. In thus transcribing, as it were, a language which he does not understand, how many must be his errors and inaccuracies! He sees an undulating surface; the bones and processes of the joints but faintly distinguishable; he neglects the peculiar swelling of the muscles, to which he should give force, as implying motion; he makes swellings merely; he is incapable of bestowing the elegant undulating outline of beauty with force and accuracy, and of preserving at the same time the characters of motion or exertion.

Drawing what he does not understand, he falls into imbecility or deviates into caricature.

Instead of a young warrior pushing on with great energy, let their task be to represent him receiving a blow of his But if with a knowledge of anatomy, he attempts the antagonist, which forces down his shield upon his breast, or same task, his acquaintance with the skeleton enables him || brings him with his knee to the ground; as it is beatifully with truth and with facility to sketch his first outline of the represented on some medals. Can we doubt for a moment figure, and to take down its various proportions; while his || which will excel? The one will copy from recollection his knowledge of the muscles enables him to represent forcibly || original_drawing, or twist with great difficulty the erect the fleshy parts, simplifying and massing where it is neces- limbs of the statue into a couching posture, while the other sary, and at the same time preserving a minuteness of will gain by his greater freedom. Retaining the general intention. air, like one who had understood what he copied, he is aware that a new class of muscles come into action, while those formerly in exertion are relaxed; he knows that the bending of the limbs increases their measurements; he knows how to represent the joints in their new postures; in short, he gives energy and effect as a compensation for slighter errors.-Vide Bell's Anatomy of Expression. (To be continued.)

But it is in composing much more than in copying what is exhibited, that the knowledge of anatomy is truly useful. Without such knowledge, all the original exertions of genius are repressed. Every alteration of posture is accompanied with muscular exertion and change of form, and in proportion to the painter's ignorance of these changes, are all his designs cramped and restrained. Leonardo da Vinci gives formally, as a precept, what is self-evident to an anatomist. "In naked figures, those members must shew their muscles most distinctly and boldly, upon which the greatest stress is laid; in comparison with which, the rest must appear enervate."-Remember, further, to make the muscles most visible on that side of any member which it puts forward to action." Such rules and precepts are rather the result of anatomical knowledge, than useful as pointing out to one unacquainted with anatomy the effect he is to produce. It is not by following such a precept, that the end is to be accomplished, but by enriching the mind with the continual contemplation of the anatomical changes, which mark || each motion; and by forming, as the result of such study, rules for the representation of human action. The uses of this study will best appear from an illustration. In vigorous action, while there is generally a tension in the whole frame, there is also, in order to produce the particular motion, a certain class of muscles brought into stronger action than the rest; the delineation of which is the true indication of the action itself. If a man be merely pointing upwards, an elegant simplicity may be all that the painter can attain, or should attempt; but if, in the same posture, he is bringing down a heavy sword to make a blow, the muscles start into strong exertion; and by representing those swelling muscles which pull down the arm and give the sweep to the whole body, the idea of mighty action is conveyed. Thus it is necessary, in order to compose with truth and correctness, not only that the painter should know the place and form of the bones and muscles, but that he should also have an accurate conception of the classing of the muscles in their action.

Perhaps I shall best impress my idea of the advantage to be derived from this study, by contrasting two young artists employed in drawing from a figure; the one trusting to his untutored genius, the other assisted by the study of anatomy. The first, after much labour, is seen copying bit by bit, and measuring from point to point; and the effect is an accurate outline. The other catches the attitude with facility, because a knowledge of the skeleton has enabled him to balance the trunk upon the limbs, and to give the outline with boldness; the turn of the limbs, the masses of muscular flesh, and the general character of the joints, are touched with a slight but accurate hand. If you look upon his sketch, you will find the attitude, the character, the spirit, and life of the original. Even in the early stage of his drawing, and whilst his opponent is copying parts, he presents you with the foundation of an accurate and spirited || sketch; and if the anatomical student has the advantage in conveying the general idea in a few lines, he has a much greater superiority in drawing the minute parts.

ON COLOURING.

To the Editor of the Somerset House Gazette.
SIR,

THE principles of light, shade, and colour, in painting,
appear to have been understood by the ancient Greeks,
but to have been lost at the restoration of painting in
Europe: thus M. Angelo, Rafael, and all the Roman
and Florentine painters, so eminent in other respects,
were, almost without exception, destitute of these princi-
ples, and of all just feeling of the effects of colours.
The restoration of this branch of the art, if not even its
invention, seems to have been coeval with oil painting,
and the glory of it belongs to the Venetians, among whom
Gio Bellino laid its foundation, and Titian carried it to
high perfection. From the Venetian it passed to the
Flemish school.

It is to be doubted notwithstanding, whether there was not more of feeling than principle in the practice of these schools, and that colouring remains yet to be established as a science.

If the excellence of the Roman and Florentine schools in the superior departments of figure, composition, and expression must be admitted, they fail nevertheless of the just effect of an art, which addresses itself to the mind through the sight. Their works have, accordingly as little effect upon the eye as the finest poetry badly set to music has upon the ear; and as this would be better without the music, so those would perhaps be better without their colour.

True taste, which admits of no discordance in its objects, will therefore prefer the Venetian to the Roman and Florentine schools, because it excels in that which is the essential basis of the art and its end.

Upon the same principle, the sublimest sentiments delivered, however accurately, in language unmeasured and inharmonious, will never redeem the performance of the poet, nor raise it above more ordinary thoughts delivered in the true measure and melody of speech; for these are the first essential, the constituent matter, the very colour of the poet's art. So also according to a correct analogy, colouring may be called the eloquence of painting-the animating principle which gives life to a pic

ture.

The Historical distribution of Painting according to the schools, is not exactly coincident with its true natural and scientific

But this superiority which anatomy bestows, is still better exemplified, if you remove the model from these two young painters, and make them draw the figure from recol- classification, according to which there are but THREE CLASSES OR SCHOOLS: viz. the gross and material, to which belongs the Dutch lection; or if, keeping the model before them in its original and Flemish schools, the sensible, as the Venetian, and the intelposture, you make them alter the attitude of the figure.lectual or Roman; and it is somewhat remarkable that in a scienSuppose, for example, that we take the fighting gladiator. tife sense these three schools should have retrograded.