In all the revolutions of pictorial art, whether in antient Greece, in modern Italy, or in Europe generally, colouring has been the last attainment of excellence: thus Zeuxis succeeded and excelled Apelles in colouring, as Titian did Raffael: thus also will the artists of Britain transcend the excellence of all other schools in the chromatic department of painting, if in its progress they should even not surpass them in all other departments of the art. Our appeal from the decisions of criticism, in favour of colouring, does not militate against the necessity the painter is under of studying the higher branches of his art, nor assert the exclusive excellence of colouring: still however, if the latter be wanting, the finest performances will fail to please, and as the proper end of painting is to please, and there is a higher and more effectual medium for addressing the mind, the most intellectual performance of the painter, and the grandest efforts of his invention will fail of their true end, if they pass not to the mind by the mediam of pleasurable effect upon their appropriate sense of sight, of which colour-and colour alone-is the immediate object: colouring is therefore the first requisite, the matter and medium of the painter's art. CHROMIUS. NORWICH EXHIBITION. To the Editor of the Somerset House Gazette. In ABOUT sixty years ago, an excellent treatise upon the Art of Painting, written by Mr. Webb, excited great interest amongst the artists and amateurs. this publication, the author exalts Raffaelle and Mi chael Angelo at the expense of Rubens-he, whom the British Apelles denominated the " Prince of Painters." Highmore, the painter, contemporary and friend of Hogarth, wrote the following strictures upon that part of the work, which I have copied from an old Painter's Scrap Book, and offer for the amusement of your readers, if you should consider it of sufficient interest to place before them in your amusing columns. "The first affections of the eye are always illplaced; it is enamoured with the splendid impositions of Rubens, &c. "Why impositions, by way of reproach, when in a proper sense, it would be the highest praise; for the very business of painting is to impose, and he who does it most effectually is the greatest artist. On Monday, August 9, 1824, The Norwich Society of Artists (in Oil and Water Colours,) opened their Twentieth Exhibition to the Public. This display of local talent is superior to its former, and the Society have been more careful in rejecting the works of mediocrity. True, it has been assisted by some productions of metropolitan talent. Haydon has a fine "Female Head"-sleeping--it resem- "It may justly be said of Rubens, that, in many rebles a Holbein of the seventeenth century. It is a repre- spects, he has had no equal; and particularly in colouring, sentation of sublime nature, sketched in the grandest style not only as to the truth of the local colours, but in all the of art. It is the portrait of a lady asleep, and truly the effects produced by colours; in the chiaro oscuro, or geneeyes, lashes, and whole head seem fully under the domi- ral light and shadow, in the keeping or gradation, in the nion of the drowsy god. Mulready had a small "Head of arrangement or distribution of the parts, so as to produce John Varley"-and Varley exhibits one of his delectable a great and beautiful whole, or tout ensemble, as the French long drawings "Cader Idris." Clent has "Portraits of express it. And, as to drawing, in which he has been Lord and Lady Suffield," "The Rev. Mr. Elwin," and" Mr. thought by some to be deficient, who have dwelt too much Martineau." They are correct likenesses of the individuals on a few negligencies, owing merely to the rapidity of his intended to be represented, and painted in his usual clear pencil,-in drawing, or designing, he seems as much supeand transparent manner: nor must we omit noticing a rior as in any of the other essentials, especially after some lovely, slight "Sketch of Miss Freeman," by the allowance made for the style of his first manner; which same artist. Davison's "Child's Head," reminds us of kind of allowance, or indulgence, is never refused to any the cherubs of Sir Joshua Reynolds; but it is of the Nor- other master, not even to Raphael, who stands in as much wich artists which we have to speak. The coloured draw- need of it to the full, as Reubens. His best works discover ings, by Colman are rich delineations of art. His "View great knowledge of anatomy, a correctness of outline, a from Yarmouth Bridge, just after Sunset," is truly Clau- certain truth of character, an ease of action or metion, a dian. His "Snowdoun" is sublime; but his more remark- force and spirit beyond what is to be seen in any other able pictures, in point of superior excellence are, pictures whatsoever; and such an apparent facility in the Dieppe,' "The Albatical House of the Abbey of St.execution, as at once convinces the spectator of the readiOuer," and his "Mount St. Michael," with accessary ness of his apprehension, and the certainty of his prinfigures to the two latter. These are not often equalled by ciples. any representations at the London exhibitions. His pencil drawings, we need scarcely add, are masterly in the extreme: there is a firmness and freedom in the handling of his pencil, scarcely equalled in this country, and of which his published specimen of Antiquarian Buildings form a fair specimen. "The Miser," by Mendham, is cleverly handled. "The Beach Scene," and " Morning," are superior drawings, by Joy. "A Grove Scene," by Ladbrooke, and "Landscapes," by Hodgon, particularly the latter, are delightful." A Cottage Scene, from Nature," by a Lady, is equal to many a production of the professional artist; and Starke's "Landscape" presents a delightful piece of forest scenery, with a distance touched with a truly "When his anatomical knowledge is mentioned, he will probably be compared with Michael Angelo, who is generally allowed to be the most knowing of all in this part. Michael Angelo, it is true, has marked the muscles in their places, perhaps, with the greatest justness, but Rubens, only seems to have known their use, and the different appearances they exhibit in action and at rest; insomuch that one sees their energy collected (as it were) to a point, in certain movements; and hence it follows, that his figures appear more animated than those of other painters. Many of their laboured figures seem motionless, though intended to represent immediate action. "To confirm and corroborate these observations on the genius, penetration, and spirit of Rubens, it may be added, that he alone has succeeded in subjects that require the most quick and lively conceptions, and where nothing more could be obtained of the originals than what could be caught by the glance of an eye; such as animals of every kind, and particularly the most savage, wild, and indocile. He alone has represented lions, tigers, &c. in all their various passions and actions, and as correctly as if they had waited the execution of his pencil, so perfectly has he been able to seize and to retain the idea; whereas, with many other painters of no small note, the representations of animals, compared with his, appear little better than such as are to be seen in the compartments of heraldry. "It has been objected, that his figures are too short and too fleshy, that is, too much of the Flemish cast. This is justly observed with respect to many of his pictures, especially of his first manner, as above observed; but then it must also be acknowledged, that, in many others, his latter pictures, he has avoided this fault, and produced as elegant and delicate figures as any painter whatever. His skill and judgment ought to be rated by his best productions, and if so, perhaps upon the whole, when all his talents are taken into the account, he may, at least be said to be one of the greatest painters whose works remain." "Mr. Webb says, I should not be so particular in tracing the origin of sculpture, and, consequently, of painting, to this æra, were it not that Pliny confidently affirms, that the latter did not exist in those times,' &c. which is very probable. "There is no one excellence of design, &c. "What follows, to the end of this paragraph, is very judicious, particularly where the author remarks that careless decency, and unaffected grace, which ever attend the motions and gesture of men unconscious of observation.' "Can paint express a quickening perspiration? The mellowest tints of the Venetian school furnish no such ideas. "No--but the spectator furnishes them to himself. How often have we heard a man of warm imagination, though of sense and genius, pretend to see excellencies in pictures which the painter never intended? Nothing is more common than for such to find all the delicacies of expression which they conceive should be attempted, and impute to an artist (especially if otherwise celebrated) not only the utmost perfection, but often what is not within the compass of the art. Many reflections of this kind may be made in reading Pliny, who, at other times also, discovers great ignorance in the observations that escape him, particularly where he remarks of a certain painter that he was the first who, in a portrait, drew the eyes with so peculiar a skill, that they seemed to follow the spectator as he changed his place, and still to look at him; whereas this effect is constant, and impossible to be otherwise. The most ignorant painter does the same thing without intention; and the most skilful can never represent the eyes looking at the spectator, standing in any one place, but they will also appear to have the same direction to him standing in any other. The cause of this effect it is plain he did not know. It is that the direction of the eyes to wards the spectator, remains the same in whatsoever place he stands; for that direction, or turn of the pupil, bears || still the same relation to the position of each feature, and to all the parts of the face, which being on a plane, suffer no apparent change; and it is on this relation that the whole depends; whereas, in a living face, or statue, that relation is continually changing with every change of place of the spectator." "Rubens has painted in imitation of the rain-bow; all the colours co-operate; the effect is good, but accidental; but in Titian and Corregio this arrangement is the result of science; it is a harmony which springs from a judicious and happy union of consenting colours. "It seems very unjust, when the effect is allowed to be produced, to call in question the judgment that produced | it. Why must that be pronounced accidental in Rubens, which is esteemed the result of science in Titian and Corregio? As no distinction is made, no reason given, none can be surmised but the prejudice of connoisseurship, since the author seems determined to depreciate Rubens and the Flemish school, in order to exalt Corregio, Titian, and other Italians.-Can any thing good come out of Galilee? 66 Speaking of Raphael, Mr. Webb says, "The most unpicturesque action composed by him, seems to have been destined for paint,' &c. without reason or truth. How contradictory to the above "Here, and elsewhere, such lavish encomiums seem observation are several representations of this painter; particularly that in which Joseph is relating his dreams to than a youth speaking to a number of auditors, the subject his brethren! This picture would exhibit nothing more remaining utterly unknown, had he not, to explain it, drawn two circles in the sky, in one of which eleven sheaves are bowing to a twelfth in the midst; and in the other circle, the sun and moon making obeisance, &c. Without this expedient, which is surely very unpicturesque, the story could not have been told. Surely the author will not say, that this action seems to have been destined for paint. These are subjects not fit for the pencil, and which only can be related, particularly where there is a succession of circumstances. On the contrary, where the princiwere, instantaneous, there is room for the display of the pal incidents are crowded into a moment, and are, as it painter's skill. Such, for instance, as Alexander taking the potion from the hand of his suspected physician Philip, who knows letter of accusation at the same time that he is swallowing not that he is suspected; Alexander giving to Philip the the draught; the astonishment and indignation of Philip at reading it; his admiration of the generosity and confidence of Alexander; and the amazement of the attendants, &c. All these circumstances subsist in the same moment. "The choice of subject is of as much consequence in painting, as the choice of fable in an epic poem. Such a in words, because the circumstances that happen at the story is better and more emphatically told in picture than same time, must, in narration, be successive, "Of the Laocoon, he says admirably, We trace in it the labour of years, we feel from it the impression of a minute.' "His whole description is judicious, striking, and expressive, and he had one of the finest productions of antiquity to describe. "But he adds, It is not probable that men of taste and letters, while they were eye-witnesses, &c. should celebrate those very qualities in the works of their painters, were they not eminently possessed of them." "Here, however, is great room for distinction. Statuary is a much more obvious art than painting, and rose much earlier to perfection, though if it be allowed that the made. that he cannot but think that the whole would have chain of circumstances is equal to a narration; and been an example of invention and conduct even in the happiest age of antiquity.' This whole paragraph is admirable. "The well-known story of the contest between Zeuxis and Parrhasius, furnishes another argument of the moderate progress of this art, at that time. It is recorded, that the birds were deceived by the painted grapes of the one, and that the competitor was himself deceived by the painted curta of the other. Now that the birds were deceived (if they really were) must be owing to the perfection of the represented grapes; but it is no difficult matter to represent fruit or flowers so perfectly as to deceive even men. painters drew as correctly, and expressed the passions as justly as the sculptors, by lines only, (which, it is supposed was the practice for a long time before the effects of light and shadow were known,) this will be but a small advance in the art of painting. The famous story of Apelles and Protogenes, as related by Pliny, gives no very advantageous idea of the progress they had made; the most that can be drawn from it is, that Apelles excelled in the correctness or in the beauty of the outline, and by that Protogenes is said to have discovered him. Now every step beyond this in the infancy of an art so complicated, must surprise; and the encomiums bestowed on those who introduced shadowing and colouring, especially with any degree of roundness or projection, may be admitted as just for the time; but to produce all the effects of colouring, as described under the article of Rubens, required the experience of more than an age. Rubens, it is true, had all the materials before him, besides the works of his predecessors, without which the progress he made would have been impossible, even with his genius. And, indeed, it appears from Pliny, that many of those circumstances related as wonderful effects of this art, must have been then new to the beholders (by their admiration) though they are generally very trifling, and such as modern artists easily execute. But this is said not to depreciate the genius or skill of the ancient artists, (who might notwithstanding, be equal or superior to any moderns) but merely to shew the small advance this slow-paced art then "It is not at all improbable that among the most unlet-dens, painted in wood, and cut out at all the extremities; tered and barbarous people, attempts may have been made in statuary, either by cutting in wood, or forming in clay, or wax, or otherwise, where, perhaps, it has never entered their heads to attempt raising the image of any object, on a flat superficies, by means of light, and shade, and colour. The one presents itself readily to the imagination, while the other is never thought of, or thought impracticable. "But if, besides the knowledge of the effects of light in all possible directions, of shadows, and reflections, of both light and shadow, in the several degrees of distance (which may be called the aerial perspective) of preserving the same tints of colouring in all these degrees of light, shade, and reflection; if to these be added the true linear perspective, all which are essentials of the art, and with which statuary has nothing to do; if these things are considered, it will not be thought strange that painting should require much more time, study, and experience to arrive at perfection, than so simple and uncomplicated an art as statuary; and that a small progress in the one, should excite an equal admiration and praise with the greatest in the other (especially if at the same time the outline of the picture be as correct as that of the statue), and though these circumstances superadded in painting, be but in a moderate degree of perfec-time the lady was appointed, to thrust his own face through tion, they might, at that time, seem to be all that art was capable of producing, to those who had never yet seen more produced. And thus we may, in some measure, account for the testimonies transmitted down to us of the works of the ancient painters, who might notwithstanding, be far inferior to many modern artists, though with equal, or perhaps superior natural talents. As a case in point, we see what painting the Chinese produce, though esteemed a learned and polite people, and who have long cultivated this and other arts; at the same time that they are no bad statuaries, at least in portraits, several of which we have seen that were modelled from the life, as like as could be done by any European statuary; which is an ocular proof how much more easy one is than the other. The author's encomium on Raphael, in relation to the cripple healed by Paul and Barnabas, is very judicious." "He says truly, That the wit of man could not devise means more certain of the end proposed; such a "It is a thousand times more difficult to represent truly the human figure; and we find, by the same story, that these grapes were in the hand of a boy, whom, if the painter had represented as well as he had the fruit, the birds would scarcely have ventured to peck at it. And the curtain of the other painter being in a place where a curtain might probably hang, if it were not very perfectly represented, (though such representation is by no means difficult) might easily deceive a person who expected no such thing, and therefore did not scrupulously examine it. And, indeed, very indifferent representations, even of human figures, do sometimes deceive, in places where the original might probably be; as centinels, and other figures in garand figures painted in sham windows. These, and such like, have often deceived the spectators, though not well executed, because, as was said, originals might probably be in these places. But the best portrait that ever Titian drew, if hung up in a frame, on the side of a room, would not deceive; that is, would not be taken for the person represented, which, however, it infallibly would, if placed where that person might be expected. And on the contrary, were a living face to appear through a canvass, inclosed in a frame, and mounted up as high as pictures are generally hung, it would very probably be taken for a picture; an instance of which is recounted of the famous by one of the best painters in Paris, carried his mistress to Marshal Luxembourg, who, having had his picture drawn see it, in hopes of prevailing on her to sit for her own. She immediately condemned it, asserting at the same time, that she never saw any picture like a human face. He, knowing that this was mere prejudice, persuaded the lady to call once more at the painter's house, after the last sitting, and assured her, that if she should not be then perfectly satisfied, he would never more importune her. He had contrived, with the painter's assistance, just at the a canvass hung where the picture had before been placed. She, on viewing it, persisted in asserting, that it was no more like than before. Upon this he could not keep his countenance, but, by laughing out, discovered his own stratagem, and her obstinacy. concomitant circumstances, either of a picture, or of na"This story is introduced, to shew how necessary the ture, are, in order to produce the proper effects of the one or the other, on the spectator." NOTICE TO CORRESPONDENTS. Artistical Scraps, and other articles upon the arts, are postponed for want of space. The contributions of R. R. will be attended to. by Sir C. Wren, will be answered in a note, to be left at The query of Z. relative to the building of the churches the Publisher's, on Wednesday next. This day is published, with a frontispiece, in 12mo. price 68. a popu. lar and highly interesting work, entitled THE CONCHOLOGIST'S COMPANION; comprising 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 63. and a CATECHISM OF CONCHOLOGY, price 9d. Published by Messrs. Longman, Hurst, Rees, Orme, Brown, and Green, Paternoster-row, London. The Proprietors have the pleasing gratification of announcing to the Literati, the Profession, and the public in general, that this longexpected and most anxiously wished-for production is at length brought to a close: and notwithstanding six years have now passed away since the first notice, yet we have never once relaxed in our exertions, even though it has extended upwards of three hundred pages beyond the limits to which we had proposed to confine ourselves; and we confidently hope, that the very interesting and highly important information therein contained, will be a sufficient apology for our having carried the subject to its present extent. We are ready to admit, that our Title may induce many to imagine that its Contents would interest the Profession only, and not the Public generally; but of this, we doubt not they would think otherwise if they gave the work a candid perusal, it having been our aim to make it well deserving the countenance and support of ail classes, but more particularly those who have a relish for the works of antiquity, and delight in feasting on ancient lore. Just published in demy 8vo. price 128.-royal Svo. 188.-and ditto with proofs on India paper, 24s. Dedicated by permission to the Right Hon. the Earl of Chichester. THE HISTORY and ANTIQUITIES of the TOWN and PORT of HASTINGS. Illustrated with 20 Engravings from original Drawings, by W. G. Moss, Draughtsman to His Royal Highness the Duke of Cambridge. Published by W. G. Moss, Kennington; West, Bookseller, Hastings; Simpkin and Marshall, Stationers Court, Ludgate-street, and sold by all Booksellers. IMPORTANT WORKS, Printed for Harding, Triphook, 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 LIBRARY COMPANION; or, the Young Man's 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 bas 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 uncommon 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, 17. 16a, boards. TORY. Including numerous Royal Letters, from Autographs in the British Museum, and one or two other Collections. With Notes and Illustrations. It is respectfully announced, that there are also two other editions, ORIGINAL LETTERS, illustrative of ENGLISH HISin Twelves and Octavo, with borders round the pages, of which the impressious are limited, particularly the latter; the price of the Twelves is Three Pounds, and the Octavo, Four Guineas:-of these editions we shall forbear making any comment, but leave the appreciation of their merit to the candour and judgment of an impartial and enlightened British public. The First volume commences with a complete history of the Origin, Rise, and Progress of the Typographic Art, wherein is clearly shewn the pretensions of the different partisans who have stepped forward in favour of the persons and places which have been mentioned as having given birth to this grand and noble invention: in discussing which, we have introduced the arguments and opinions of those gentlemen by whom so many volumes have been written, and from,which we have drawn our conclusions, by bringing the matter into a very small focus, thereby confining all contention respecting it to one simple question, which we doubt not will for ever set this long contested point completely at rest. This is followed by a list of the persons by whom, and the places at which the Art was exercised during the remainder of the century, after the dispersion of the Mentz Printers; these are succeeded by Biographical Notices of the early Printers of Great Britain, and lists of their productions down to near the close of the sixteenth century, with copious extracts from the Colophons, Prefaces, &c. of the works of Caxton, De Worde, and Pynson, illustrated with such Portraits and Devices as have hitherto been discovered in the early productions of the. Press of this country. The Second Volume opens with an account of the different articles necessary in the exercise of the art; also Schemes for Imposing, with a general outline for laying down all irregular matter of every description; likewise directions to Authors for the correcting of proofs; Tables of Signatures and Folios; Domesday Characters, Greek Ligatures, &c. &c.; an account of the origin and progress of the Ancient and Modern Alphabets, illustrated by engravings and other characters, and a key to the reading of the Egyptian Hieroglpyhics, &c.; descriptions and engravings of various presses, with remarks upon them; Tables for calculating the prices of work, and a complete elucidation of every subject connected with this most, invaluable and inestimable art. The work is enriched by copious and explanatory indexes to each volume. Upon the whole, the Proprietors flatter themselves that such a body of curious, useful, and highly important information on this very interesting subject, is not to be met with in any one work at present extant. By HENRY ELLIS, F. R. S. SEC. 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 Burghley'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 Life; 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 Grea of France, contemporaneous in Period and Rivals in the Splendour and Genius of their respective Courts. Miss Aikin's elegant volumes bave 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, Perefixe, 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 our language, and so curious, that we have judged it proper to transfer the entire article for its own sake, as well as to exhibit the talents of the Author."-Monthly Magazine. And Literary Museum: OR, WEEKLY MISCELLANY OF FINE ARTS, ANTIQUITIES, AND LITERARY CHIT CHAT. No. XLVIII.] By Ephraim Hardcastle. A stamped Edition for Country Circulation, postage free, Price Tenpence. OF POLISHED AND GRAINED STONES. THE TWO PRINCIPAL STYLES USED IN LITHOGRAPHY, ARE [SIXPENCE. the light will catch all the little asperities, and shew the grain very distinctly. An artist who will take the trouble to do this with every stone he works upon, will learn to know, by eye, whether the grain is too fine or too coarse. Portraits, however, admit of, and even require a coarser grain than landscape, particularly if drawn in the stippled manner. Success is more certain, and the impressions will possess a degree of brightness which can never be attained with a finer grain. By employ INK drawings are generally made on polished stones, as the grain necessary for a chalk drawing makes it unpleasant to draw with the hair pencil or the pen. Some persons, from ignorance, have often made chalk drawings on a polished stone; these invariably fail, as a stone with a proper grain is the first requisite foring a sharp-pointed pencil for the more delicate tints, the success of a chalk drawing. It is of the greatest importance that the grain of a stone for a chalk drawing be not too fine, and a little practice will very soon shew the artist which is the proper grain; for if too coarse, the drawing, particularly the delicate tints, will look sandy and open, and the execution will be attended with great trouble, particularly in making out the minute parts. On the other hand, if the grain be too fine, the chalk slips, and draws greasy, the stone does not appear to bite, and there is a difficulty in producing dark tints. Moreover, in the printing, the darker parts soon clog up, and from the stone approaching the polished state, the delicate tints do not hold, and soon break up. The ease with which chalk works on a well-grained stone, will soon teach an artist to know when the grain is as it ought to be, and its pleasantness is such as to make drawing with pencil on paper appear afterwards meagre and poor; for there is a richness and fulness in drawing on a good stone, which, from the nature of the material, has more the feel of painting with a brush than of drawing with chalk. I mention this circumstance, as this peculiar feel is the best criterion to judge of the right grain of a stone. and occasionally opening and picking with a needle those small specks which occur in working on a coarse stone, a clever artist can produce drawings which bear being placed next to the best specimens of copper-plate engraving. It must, however, be well borne in mind, as a most important rule, that in every case, whether figures or landscape, a coarse-grained stone is by far a less evil than too fine a one, as a failure is often the consequence of too fine a grain, whereas a little more trouble in the execution of the drawing, is the only risk which the artist runs in working on a coarse grain. Vide Hullmandel's Art of Drawing on Stone. REVIEWS. The Book of Fallacies; from unfinished Papers of Jeremy Bentham. By a Friend. London: J. and H. L. Hunt, 1824. JEREMY BENTHAM is an acute thinker and an original-minded man. There are few men living that are more so. His knowledge is vast, and his power of There is no difficulty in ascertaining the proper pre-melting down that knowledge, so as to make it properly paration of a polished stone, as it is sufficient that the face be well smoothed and free from scratches. This last defect is also to be avoided in a grained stone, as scratches are often produced by a coarse grain of sand, which invariably print as a white hair line. his own, is equally singular. Yet, from some unhappy malformation of his intellectual faculties, he is deficient in the power of conveying his ideas to the public in a clear and efficient way. There is a jumble and confusion about him which might be considered wholly inconsistent with the acuteness and clearness of percepAlthough, as I have said above, it is impossible to tion for which we have already given him credit. His draw with chalk on a polished stone, ink may be, if style and manner of expression are so uncouth and reemployed with judgment, applied with great advantagepulsive, that the most obstinate readers can scarcely enin chalk drawings. I will treat this subject more indure the labour of digging out his thoughts. Hence it detail hereafter. is that Mr. Bentham's reputation is generally taken on The best way to see the grain of a stone, is to in-trust. Those who cannot read his works, believe him cline it to the horizon, nearly at an angle of 45 degrees; by varying the position slightly, above and below this angle, a certain point will be found, at which VOL. II. to be a clever and deeply-informed man, on the report of those who have. This is very unlucky for him, in more than one respect. It lays him open to ridicule, LONDON, SEPTEMBER 4, 1824. |