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ther name for Vishnu): and, as this deity favoured the cause of the Pandoos, he was selected, not as the projector, but as the workman. He is the inspector of all manual labours and mechanical arts."

Captain Seely goes on to describe the Temples of Jaggernaut Indra-Januwassee, and others, with a similar minuteness of detail. We cannot "tell steps in the same file" with him, for fear of exceeding the lines which circumscribe our movements. Some very interesting general observations follow, and these we must postpone until next week.

Elora is about 100 miles from Calcutta, 6500 from Madras, and 250 from Bombay.

The Complete Angler of Isaac Walton and Charles Cotton, extensively embellished with Engravings on Copper and Wood, from original Paintings and Drawings. By first rate Artists. London: Major, 1824. pp. 416.

WE are not going to review this book, which must be familiar to every reader who has the slightest love for simple and natural writing-beautiful descriptions -innocent pleasantry-and the purest and most fascinating pastoral feeling. We only wish to direct the public attention to the present Edition of Mr. Major. It is one of the most exquisite specimens of typography and illustration, that we remember to have recently seen. The embellishments consist of wood-cuts and copper-plates to the amount of nearly one hundred. The wood cuts of the fishes are beautifully done. The copper-plates are engraved by W. R. Smith and Haddon, after drawings by Wale and Nash, and are remarkable for their ease and grace. The notes and introduction by Mr. Major, contain a great deal of useful explanation, and unite in rendering the edition more complete. Altogether the volume reflects great credit on the publisher.

The Life of Isaac Walton, including Notices of his Contemporaries. By THOS. ZOUCH, D.D.F.L.S. London: S. Prowett, 1824.

IT is with feelings of admiration (similar to those just expressed) for beautiful typography, that we notice this republication. It is a fit companion to Major's Edition of Walton, and perhaps the other is incomplete without the biography of Dr. Zouch. The embellishments are of the first style of excellence, and the drawings are from the pencils of the most eminent artists.

There is a view of St. Alban's Abbey, by Nasmyth, which is uncommonly beautiful, and deserves to be particularized. The book is quite a gem in the way of art.

The Second Maiden's Tragedy. London: C. Baldwyn, 1824.

THIS is the first number of a selection of Plays from the Old English Dramatists, now in the course of publication. The present is one of the three unpublished plays, which escaped the destructive fury of Mr. Warburton's cookmaid, and has been printed

from a manuscript in the Lansdowne collection. The author is not known, and the editor makes no effort to discover him. Our business is with the merits of the piece, not with its possible authorship, and we shall pass at once to the tragedy. The plot turns upon the unsuccessful love of an usurper, for a lady who remains faithful to the deposed king. She destroys herself out of fear that the tyrant should resort to violence. At her tomb the two rivals meet, and the tyrant is killed. There is an insubordinate plot founded upon the story of the curious impertinent in Don Quixote. Nothing can be more inartificial than the construction, or more undramatic than the characters of this piece, but there are some passages of great tenderness, pathos, and poetry, as will appear from the following quotations:

A LOVER'S DESPAIR.

"The loss of her sits closer to my heart
Than that of kingdom, or the whorish pomp
Of this world's titles, that with flattery swells us,
And makes us die like beasts fat for destruction.
O she's a woman, and her eye will stand
Upon advancement, never weary yonder,
But when she turns her head by chance, and sees
The fortunes that are my companions,
She'll snatch her eyes off, and repent the looking."
CONSTANT LOVE.

"Why, that's the usurper, sir, this is the king;
I happen'd righter than you thought I had;
And were all kingdoms of the earth his own,
As sure as this is not, and this dear gentleman
As poor as virtue, and almost as friendless,

I would not change this misery for that sceptre,
Wherein I'd part with him; sir, be cheerful,
'Tis not the reeling fortune of great state,
Or low condition, that I cast mine eye at,
It is the man I seek, the rest I lose,
As things unworthy to be kept or noted;
Fortunes are but the outsides of true worth,
It is the mind that sets his master forth."
CHASTITY.

"But say she's all chaste, yet, is that her goodness?
What labour is't for woman to keep constant,
That's never tried or tempted? Where's her fight?
The war's within her breast, her honest anger
Against the impudence of flesh and hell:
So let me know the lady of my rest,

Or I shall never sleep well; give not me

The thing that is thought good, but what's approv'd so:
So wise men choose.-O what a lazy virtue
Is chastity in a woman, if no sin

Should lay temptation to't!"

AN AFFECTIONATE WIFE. "Yet there is a date set to all sorrows;

Nothing is everlasting in this world.

Your council will prevail, persuade him, good sir,
To fall into life's happiness again,

And leave the desolate path; I want his company.
He walks at midnight in thick shady woods,
Where scarce the moon is starlight; I have watch'd him
In silent nights, when all the earth was drest
Up like a virgin, in white innocent beams,-
Stood in my window, cold and thinly clad,
T'observe him through the bounty of the moon,
That liberally bestow'd her graces on me,
And when the morning dew began to fall,

Then was my time to weep; h'as lost his kindness,
Forgot the way of wedlock, and become
A stranger to the joys and rites of love.

He's not so good as a lord ought to be.
Pray tell him so from me-sir."

A VIRTUOUS WOMAN.
"Come, thou delicious treasure of mankind,
To him that knows what virtuous woman is,
And can discreetly love her! the whole world
Yields not a jewel like her, ransack rocks

And caves beneath the deep: O thou fair spring
Of honest and religious desires,

Fountain of weeping honour, I will kiss thee
After death's marble lip! thou'rt cold enough
To lie entomb'd now by my father's side,
Without offence in kindred; there I'll place thee
With one I lov'd the dearest next to thee;,
Help me to mourn, all that love chastity.'
GRIEF OF A LOVER.
"Already mine eye melts; the monument
No sooner stood before it, but a tear
Ran swiftly from me to express her duty.
Temple of honour! I salute thee early,

The time that my griefs rise; chamber of peace!
Where wounded virtue sleeps lock'd from the world,
I bring to be acquainted with thy silence
Sorrows that love no noise; they dwell all inward,
Where truth and love in every man should dwell.'
Be ready, boy! give me the strain again,

"Twill show well here, whilst, in my grief's devotion,
At every rest mine eye lets fall a bead,
To keep the number perfect."

DRAMA.

as a whole we doubt whether it possesses that degree of excellence which will increase the lustre of Mr. Kemble's reputation. In Hotspur, Young was cold, declamatory, and monotonous. The Hotspur of Shakspeare was fiery, passionate, and energetic." The audience applauded Mr. Young, but whether they thought he understood the text, or improved upon it by substituting his own conceptions, or not, we cannot say. Mr. Young, however, had reason to be satisfied with his praises.

Drury Lane.-The manager of this house is presenting to the public a very tempting bill of fare every night. Good old comedies, and the plays of Shakspeare are again domiciliated at Drury, to the great delight of all genuine playgoers. Measure for Measure has been revived with much success. We have not room to say a word of the manner in which it was performed, but we shall give next week a detailed examination of Mr. Macready's manner of acting Shakspeare, in this and other plays in which he has lately appeared.

Signor Pistrucci.---In speaking of the drama, we ought not to omit noticing the performances of this highly gifted Italian. On Wednesday evening, a very fashionable and crowded audience assembled at the Argyll Rooms, to witness a specimen of Italian improvisation. We are no great admirers of this sort of exhibition, which, generally speaking, is little else than a happy knack at versification. The Italian language lends itself very easily to extemporaneous rhyming, and it is only in Italy that improvisatori (professionally speaking) have ever been found. They have been marvelled at by the ordinary class of critics, but never admired or countenanced by real judges of poetry. The malheureuse fecondite of the language requires great care, diligence, and taste, to render its poetry endurable. But, in the loose and rambling style of extemporaneous declaimers, there can never be much which is worth our regard. Signor Pistrucci appears to possess a more cultivated intellect than most of his class. He does not want information, at least on the subjects which he handled; and his language and imagery displayed a refined and delicate taste. The themes were suggested by different persons, and he inharmonious verses. The subjects were Gold; The Judgment of Brutus; The Death of Epaminondas; The Greatness of God, &c. Pistrucci's manner is vehement and imwhich he adopted. The audience appeared surprized and pressive, though we cannot admire the tone of recitative pleased at the facility and excellence of his performance, and bestowed on him considerable applause. Between the parts of the performance, several of the singers from the Italian Opera gave some of Rossini's compositions with great effect. Ronzi de Begnis and Torri distinguished themselves very much.

King's Theatre.-Madame Caradori Allen was honoured by one of the most brilliant houses of the season, to witness Don Giovanni, for her benefit on Thursday evening. Much as we admire the splendid music of Rossini, it is gratifying to see such an assemblage of the cognoscenti as filled the pit (to a bumper) ere the commencement of the overture. We need not say, that Garcia, in addition to his exquisite singing, was nearly equal to our old favourite, Ambrogetti instantly began to pour forth a series of unpremeditated and the gay Don. Though we have heard Mesdames De Begn's and Caradori in better voice-the Opera was altogether most effectively performed; and we have no doubt afforded most substantial reasons for this beautiful Opera being repeated many times before the end of the season. Covent Garden.-Henry IV. has been performed here with great success. The scenery has been repainted, and the dresses and decorations entirely refashioned, under the superintendence of Mr. Kemble himself. The utmost diligence has been employed to give these "outward appliances" with all possible historical accuracy; and so far as we are able to judge, it has been most successful. In the acting we cannot do more than notice Mr. Kemble's performance of Falstaff. This was an arduous and hazardous undertaking, which we witnessed with some apprehension A MIDSUMMER DAY'S DREAM: a Poem.

and great pleasure. The newspaper critics have been ex-
tremely amusing in their accounts of Mr. Kemble's acting.
One paper tells us that he has great personal qualifications
for, and a perfect understanding of, the character. Ano-
ther says, that he understands the part, but wants
personal qualifications; and a third asserts that he
neither understands the character nor possesses any
personal qualifications for it! It would be ridiculous
enough to rely much on the clashing opinions of such cri-
tics, who write they know not what or wherefore.
truth is, that Mr. Kemble does understand the character of
FALSTAFF perfectly, but he wants the power to put his con-
ceptions into shape and effect. His features are not suf-
ficiently flexible, and he is not happy in expressing the sly
sarcastic humour which characterizes Falstaff. Pleased
we certainly were with many parts of his performance, but

The

This day is published, in foolscap 8vo. with plates, after Designs by
Martin, price 8s. boards.

By EDWIN ATHERSTONE,

Author of "The Last Days of Herculaneum."-London: Printed for
Baldwin, Cradock, and Joy.

SPANISH MAGAZINE.

Just published by R. Ackermann, London.

No. III. PERIODICO TRIMESTRE, intitulado VARIEDADES o MENSAGERO de LONDRES. This quarterly work will in future regularly 'appear on the 1st of April, July, October, and January. Each Number will contain 11 coloured Plates and a Portrait of an eminent Character. The present Number has a fine Portrait of SIR JAMES MACKINTOSH, Royal 8vo. price 10s. 6d.

Also, just published, a SPANISH FORGET ME NOT (NO ME OLVIDES), partly translated from the English, and partly Original Spanish Prose and Poetry, pp. 400. Illustrated with 13 very beauti ful Engravings; neatly bound and gilt, in a Case, price 12s.

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EXHIBITION of SPLENDID DRAWINGS, No. 9,

Soho-square, IS OPEN, containing a most brilliant Collection by Sir Thomas Lawrence, P.R.A., and the following Academicians and Members of the Royal Academy.-By Messrs. Turner, Stothard, Wilkie, Westall, Owen, Collins, Cooper, Daniell, Jones-by the late Messrs. Gainsborough, Wilson, Cipriani, Hamilton, and Bartolozzi-by Messrs. C. R. Leslie, A.R.A., H. Edridge, A.R.A., and by Messrs. Girtin, Dewint, Havell, Cristall, Dighton, Brockedon, Green, Wilkin, Uwins, Clennell, Cozens, Robertson, G. R. Ward, Kirk, Martin Ward, Moreland, &c. &c. with choice Specimens by the following Old Masters, from the finest collections:-Michael Angelo, Raphael, Parmegiano, Correggio, Annibal Caracci, Paul Veronese, Rubens, Rembrandt, Vandyke, Ostade, Snyders, Rysdael, &c. &c.-The Exhibition is also enriched with the " Two Moonlights," and " A Morning Scene," by Gainsborough, exhibited by artificial light. Open from ten till six.-Admittance, 1s.-Catalogues, 1s,

Published by WETTON, 21, Fleet-street, 4to. price 10s. 6d. THE MEDICAL MAN'S COMMON PLACE BOOK.

A book of this nature has long been a desideratum with medical practitioners and students. There are few men who have not, in the course of their practice, occasionally met with cases of peculiar interest, which, on some future period they have been most anxious to recal to their minds, but without success. A few intelligent practitioners, have already rendered great service to the medical profession, by keeping faithful records of the cases that have been under their inspection; and many important discoveries we are convinced would be made in the nature of the disease, if such a praetice were to become more general. The present work is proposed with the view of enabling those gentlemen who are thus desirous of benefiting themselves and the public, to accomplish this desirable

ON the INJURIES of the SPINE, and of the THIGH object without difficulty and with little trouble; great pains have

BONE: in Two Lectures delivered in the School of Great Windmill-street.-The first, in Vindication of the Author's Opinions against the Observations of Sir Astley Cooper, Bart.; the second, to maintain the late Mr. John Bell's title to certain Doctrines now advanced by the same Gentleman: illustrated with nine engravings.By CHARLES BELL, Surgeon to the Middlesex Hospital.-London: Printed for Thomas Tegg, 73, Cheapside.

SECOND VIEW of POMPEII, Panorama, Leicester

square

J. and R. BURFORD are now EXHIBITING in their Great Room a "Second View of Pompeii," containing the Tragic Theatre, Covered Theatre, Temple of Isis, Small Forum, and many other interesting Remains, which, from their situation, could not be introduced in the First View exhibiting in the Strand. These Views were taken by Mr. J. Burford, who resided several months at Pompeii for that purpose. Open from Ten till Dusk.-Admittance 1s. A VIEW of LAUSANNE is now also Exhibiting. Admittance 1s.

This day is published, by C. WILD, No. 35, Albemarle-street, London.

ΑΝ

N ILLUSTRATION of the ARCHITECTURE and SCULPTURE of the CATHEDRAL CHURCH of WORCESTER, on Twelve Plates, each 10 by 12 inches, carefully engraved in the Line Manner, and accompanied by an Historical and Descriptive Account of the Fabric.-Price in hoards, in atlas quarto, 41. 4s.; India proofs, in folio Colombier, 81. 8s.

An ILLUSTRATION of the ARCHITECTURE and SCULPTURE of the CATHEDRAL CHURCH of LINCOLN, executed in the same manner, on Sixteen Plates, accompanied as above:-Price in boards, atlas quarto, 51. 5s.; India proofs, folio Colombier, 101 10s.

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Also, SIX SELECT SPECIMENS of FRENCH ECCLESIASTICAL ARCHITECTURE, being Views of the following Objects, namely:

The West Front of the Cathedral Church of Amiens.
The Nave of Ditto.

The Choir of Ditto.

The Spires of the Cathedral Church of Chartres.
The West Front of the Cathedral Church of Rheims.
And the Choir of the Cathedral Church of Beauvais,

The plates, each in size 11 by 15 inches, are carefully engraved in aquatinta; the Impressions Coloured in Imitation of the Original Drawings, and Mounted.-Price Five Guineas the Six, or One Guinea each.

been taken in the selection of the most useful terms, that occur in the extensive duties of a general practitioner. The leading terins in the Practice of Physic, Surgery, Midwifery, Chemistry, &c. will be found arranged alphabetically, and under each list, a blank space has been left for the insertion of any additional names that may be hereafter found necessary. Such a book kept by a hospital pupil, under the direction of the visiting surgeon and physician, would be a highly useful and valuable work to the students, and its publication be productive of great benefit to society in general.

To shew the use of this work, we will suppose a surgeon meets with a case of bronchocele, in the treatment of which he is eminently successful, and after the patient is discharged, he thinks it might be useful to him at a future period, if he were to make a few memorandums of the symptoms and treatment of the disease, which he does. In the course of a few months, perhaps, a patient with a similar affection comes to him. He then wishes to find the notes he made in the former case, but for want of a properly arranged book he is unable to succeed-had such a one as the present been in his possession, he would have looked in the index, and at the word bronchocele, have marked down the number of the first blank page, and on it have written down his account of the case. At any subsequent period, however distant, if he had occasion to refer to it, it might have been found, without the slightest difficulty, or loss of

time.

In addition to the above, which applies equally to gentlemen in practice, and to medical students attending hospitals and dispensaries; we wish to point out to the latter, the great benefit they would derive, in carefully noting down any circumstance connected with their profession, which they may have heard or seen in the course of their day's study. It is a practice much censured by public teachers, for pupils to take notes during a lecture, as they must unavoidably lose one part of the discourse, while writing down another. But, if in the course of their daily studies, any thing in Surgery, Chemistry, &c. should particularly strike them, on their return bome, they can set it down in their common place book, marking the page to its proper head in the index, which will enable them to find it with ease, whenever they may have occasion to recur to the subject. This will be productive of great advantage in affording them an opportunity of describing in their own words, the principal points connected with their profession, and give them an excellent opportunity of exercising their memory.

London:

Medical works supplied on the most liberal terms.

Printed by SHACKELL and ARROWSMITH, Johnson's Court; and published by W. WETTON, 21, Fleet Street, and may be had of J. WARREN, 7, Brydges-street, Coventgarden; also of all Booksellers and Newsmen.

And Literary Museum:

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

No. XXXII.]

By Ephraim Hardcastle.

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

EXHIBITION OF THE ROYAL ACADEMY,

SOMERSET HOUSE.
(Continued from p. 63.)

The Fifty-sixth.

In a conversation with the late President of the Royal Academy, upon the manual dexterity of the old Dutch and Flemish masters, that consummate judge of painting observed, that if he were called upon to decide the question of which among them had gone the nearest to perfection, in depicting what they saw, and what they selected for imitation, he should give it in favor of Vandevelde, the marine painter; adding, that he thought certain of his cabinet pictures, were the most perfect representations of nature that were known to exist in the art.

[SIXPENCE.

excellencies in his marine pictures, that may be said like the works of our great Reynolds, to partake of all that was most genial to the art.

To speak of our ingenious contemporaries in the same pursuit, would be a task of difficulty indeed, were we not addressing our observations to those, who those of the dead. We may then add, that in Callcott can appreciate the merits of the living, as justly as we have to acknowledge another marine painter, who is equally an honour to the British school, and render justice to his rare talent, without the necessity of making comparisons to the prejudice of himself or his distinguished compeers. For as long as the disciples of art shall go to the school of nature, and mind her precepts, the venerable preceptress will with pride acknowledge them all as her own good children."

66

ROCHESTER, FROM THE RIVER, BELOW THE BRIDGE, PAINTED
BY A. W. CALLCOTT.

We had not been many minutes in the great room, ere a friend took us kindly by the sleeve, and although we were engaged five or six deep, to pay our visit to other pictures, we could not resist the friendly impulse which almost dragged us before this most interesting composition. "What do you say to that-is not that glorious?" We need not remind the frequent amateur visitors at an exhi

Cuyp's marine pieces are admirable in their way. His object was not to attempt that correct mode of imitation which characterize the works of Vandevelde. Indeed, it may be questioned, whether his hand was equal to that precision of execution, which is so remarkable in Vandevelde's sea pieces; a faculty indeed, with which he seemed to be particularly gifted;bition that the artists, those who are worthily so called, for the masterly freedom which he displayed in the rigging of his vessels, whether in the great ships of war, or in the smaller craft, appears in his pictures to be scarcely an effort of his sweeping pencil; whilst with all the copyists of his works, many of whom have gone near to the purity of his general effects-we speak of old copyists-the deficiency in this particular, is discoverable to the eye of the connoisseur, by which he is enabled to detect a copy from an original.

are enthusiasts-particularly on the first day." And why not?" as Mr. Burke once said to Sir Joshua, who, great man, was eminently modest. "And why not allow the artists to be thus complimented when they merit applause? Witness the enthusiastic expressions-the loud plaudits bestowed on the musicians and the actors, when they Joshua," added his illustrious friend, smiling all the while have well played their parts." "Why, my dear Sir

66

we had all but determined to clap our hands when you entered your great academy room the other morning." "When they talk'd of their Rafaelles, Correggios, and stuff, Vandevelde's effects were never artificial-he was He shifted his trumpet, and only took snuff." satisfied with what he saw, and represented nature Vide Goldsmith's Retaliation. with truth and simplicity. His pictures, generally, had Verily we could have clapped our hands on approaching not his execution been so perfect, would not have rank-this and many other pictures in this collection. But, the ed high in art. His ultimate object appears to have highest and most gratifying plaudits, and those that are

been to record matter of fact.

Cuyp, though an equally attentive observer of nature, and a respecter of truth, viewed her works with the feelings of a more ardent devotee, and described her with a sentiment, equal to his glowing imagination. These, and Backhyysen, and many more, have left us marine pieces, that will continue to delight, as long as the generations of men shall continue to respect the labours of those who were the gifted of Heaven to enlighten the times in which they lived.

A long age had passed away, and Turner struck out a new style of painting, no less natural, and combining

VOL. II.

most acceptable to the painter. are those which flow spontaneously from the approbation of fellow labourers in the great field of art. Genuine encomiums thus bestowed, before a picture, in the absence of its author, are compliments which may be proudly felt, when reaching the ears of him thus honoured. We never felt higher respect for the President of the Royal Academy, than on recently listening to some becoming compliments, in St. James's Palace, delicately conveyed to Sir Thomas, on the beauty of the two infantine portrait. The president, without an apparent effort, elegantly diverted the attention of the party, by observing, "I am pleased to find those heads obtain notice, considering that they are placed by the side of that very fine picture by Mr. Leslie," and at once went into a generous detail of its beauties and its excellencies.

LONDON, MAY 15, 1824.

such a work should be transmitted to posterity as faultless as the inimitable talent of its author could leave it,

"Pray," turning over the leaves of the catalogue with a wet thumb," which is the picture of Rochester?" enquired a fine hardy pilot-looking-worthy, and discovering One more speculation upon the effect, ere we turn away that our group were talking as men at home," addressed from this very fine river scene. Surrounded as it is by viothe nearest with," Perhaps you can inform us, brother?" ||lent contrasts, and the exhibition of power, we can suppose He had a party with him, a young man, his son, whom that this superior observer of nature might feel that his we found to be a skipper, and his wife and daughters, all composition wanted additional force. Arguing upon this In their best attire. This is the picture, my friend." presumption, we might have suggested, that the lights The veteran read the article aloud, Rochester from the would have sparkled with more energy upon the groups River, below the Bridge, and exclaimed in an extacy, "By | in the further boat upon the front group, leading it through G-d so it is just opposite old Staunton's, where I served between the other vessels, which would have then been the my time-just as it used to look when I was a young- main focus of light. In our judgment, this easily practister, no higher than my walking stick-all in a haze cable alteration would have made the scene certainly one by Look at it, mistress-there's the old castle." of the highest, and most successful efforts of modern art, morally speaking, nothing short of perfection. As it is, we consider it a magnificent and proud specimen of the English school.

He stood before it, the most interesting figure, to speak in the painter's phrase, that we ever beheld. The tear ready|| to start. "It is forty years since I saw the dear old spot, and if the haze would only clear off, smite me if I would not point out every house. Thank ye-thank ye," said the old son of Neptune, "thank ye, brother; it's the very moral of the place."

"I was born at Rochester,

My father was a fishmonger."

"Here, this is the picture," said one of a group of young painters. We like to lend an ear to their remarks. What a breadth of effect," said he, how quiet-how flat the water is. What local colour-the boats are real. I say, look you here, what character: why, every one of these fellows are portraits. Master・・・ ,old Ephraim Hardcastle is right, though, after all. It will not do, a splash of red, and a dab of blue, after looking at these. By Jupiter, how beautifully finished!"

"What nonsense," observed another, "to say that we have no characters to paint from, when you look at these figures: why they are as picturesque as any of the old Dutch masters."

From the single, fine sentiment of Callcott's Rochester, and the expansive waters of the Medway, we were arrested by another river scene. "The Boat passing a Lock,” by Constable. Here no proud ship of war, nor even fishingsmack, such as form that adinired group below Rochester bridge, are ever seen "spreading their white sails to the beams of the morning," but the long, drowsy barge, gliding along the quiet stream, beside the rural towing path, and raising ever and anon its single swell, to the very brink of its green boundary.

Among the delights of true connoisseurship, may be reckoned that capacity of taste with which a genuine amateur can relish every thing good in its kind. The majestic compositions of the great Michael Angelo, or the boors of Ostade,-the sublime landscapes of Dominichino, or the rude lane by Wynants, all succeed each other in their course-all please, and all are acceptable in unsatiating suc

cession.

"What an improving painter is this Constable," observed a distinguished connoisseur. "Here is a true English scene, exhibited in all the freshness of a bright noon. lt smells salubrious as the summer meadow in a western breeze." 66 "A sterling piece of art, Sir

"Yes," replied his neighbour, "and better painted than any of them. How sweetly coloured, and such taste in their grouping too."-"Yes," added the first," and how admirably drawn." We listened with particular interest-professor,-a landscape-painter too, addressing the knight. they were very intelligent young men.

"I think the effect would have been more powerful, had the reflections been deeper,” said one.-" Why, so I was thinking," replied the other; "but you perceive the water is thick-and I have noticed, that under that circumstance, the reflection is not so deep in tone as the object itself. I admire the picture for its local truth."

66

"What do you hold your hand up for?" enquired one of the young men. Why, I am hiding that tri-coloured flag," said he. We were pleased with the observation, and listened with increasing interest. The colours strike me to be too fresh for the general atmosphere. It seems, to my eye, to be out of keeping-it comes too near for the distance."

"I would lay a wager," said another, "that that flag was an after-thought."-" Put in," said the other, "on the varnishing day, for the sake of a bit of red, and a bit of blue, and a bit of white." We could not but smile--but it was an approving smile. The observations of these young painters were too sagacious to escape notice.

We really felt disposed to reflect upon the hint, and venture to question the propriety of the freshness of that little trait: we think, that the toning of it down, would be an advantage to the repose of the picture. It is a further question with us, whether the linen of the sailors is not too white for the general effect, wherein all the objects, either by receiving the positive light, or the reflected light from the sun, which diffuses so general a warm glow, would not have given every part, even white, a slight yellowish tinge. We should not notice what might appear to the unlearned eye, trifling defects like these, were we not anxious that

This is no cockney scene."

said a brother

"No, Sir," replied the connoisseur. "Here we perceive the advantage resulting from a painter's having lived amongst the rural images which he describes. The smoke of London never reached these regions."

"What a delectable spot to throw a rod in-hey!" observed an old disciple of the school of Izaak Walton. "What a site for a fishing-hut!"

"Now, I know little or nothing of the arts," said a well looking portly commercialist, "but if I were to become a picture-buyer, I think that piece should not slip through my fingers for a trifle. Let me see," referring to his catalogue, and marking it with his pencil, "A Boat passing a Lock.-I' faith, I took it for a barge-it looks as large as a country barge in reality. I will mark it down.-No. 180." He was addressing these remarks to a fellow-citizen, when proceeding, as he thought, to his friend, he exclaimed to another person looking over his shoulder," What, my dear Sir-O! I am happy to meet you here-(whispering,) for now I can pick up some information." This happened a-pro-pos. It was. , a distinguished portrait-painter, who had recently painted the whole of the commercialist's worthy family. "Well, now my friend."-" Well, Sir," taking him by the arm; 66 pray let me ask, why, or wherethe same sort of scenes which are to be seen in my neighfore, is not this piece as natural, and as finely painted, as bourhood at the Dulwich Gallery? There is my neighbour, the banker, who has his house full of pictures, and passes for a great judge of these matters, declares we have no painters like your old Dons that lived two or three hundred years ago. I confess my ignorance-but I would as soon

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