early times we read of specimens of needle-work, by the hands of celebrated females, which attracted much attention, and which were exhibited as decorations of dwellings, and as monuments of ingenious industry. But within a few years past improvements have been made in this elegant art, which far surpass the most renowned productions of the same kind in former ages. The names of several ladies might be mentioned, who have much distinguished themselves by contributing to these improvements; but among these the genius and works of Miss Linwood, of Great Britain, hold an undisputed preeminence. The needle, in the hands of this lady, has become a "formidable rival of the pencil." The pieces she has wrought so far transcend, both in number and excellence, all preceding attempts, that they may, with great justice, be placed among the distinguishing honours of the period under review. Perhaps no less praise is due to miss Thomson, for her matchless exhibition of paintings in wool.

SECTION II.

SCULPTURE.

In this art the eighteenth century, though it has produced some respectable masters, yet falls far short of those renowned monuments which do so much honour to Grecian genius. Of that portion of skill in sculpture which has fallen to the lot of modern artists, the largest share, as in former periods, belongs to those of Italy. In that coun

try Algardi*, Cherachi, Comolli, Carlini, and, above all, Canova †, have been much distinguished. Beside these Roubilliac, la Moitt, Chaudet, Houdon, and Boizot, of France; Rysbrach and Fiamingo, of Flanders; Schaddau, of Berlin; Bacon, Nollekens, Wilton, Flaxman, Moore, Banks, and the honourable Mrs. Damer †, of Great Britain; Sergel, of Sweden; and a few others, in different parts of Europe, have attained, within the period in question, considerable celebrity.

The art of taking human likenesses in Warx, though not absolutely peculiar to the eighteenth century, has been carried to a degree of perfection during this period, which was never before known. In this art Mrs. Wright, an ingenious American lady; Mr. Gossett and his nephew, of Great Britain; and several others on the continent of Europe, have gained very honourable distinction.

The various compositions for Busts and other

Algardi lived early in the eighteenth century. Among the numerous works on which his reputation is built, his famous specimen of alto relievo, in St. Peter's, at Rome, deserves particular commendation. The subject is the appearance of St. Peter and St. Paul to Attila, when laying siege to Rome. It is one of the finest things to be seen in that city.

† Canova resides at Rome. The author is informed, by Mr. Murray, that this artist is undoubtedly the greatest sculptor now living, and fully equal to the second class of Grecian sculptors. Mr. Murray, when at Rome, was often in the workshop of Canova, and declares, that, on comparing a statue of Perseus, executed by him, with a cast from, the Belvidere Apollo, placed in the same room, the former suffered very little by the comparison.

Mrs. Damer is the first instance, in the annals of sculpture, of a female attaining distinction in this art. Some of her works do her great honour.

kinds of statuary, which modern genius has invented, are worthy of notice in this brief sketch of the peculiarities of the last age. Those in particular by Wedgwood and Bentley of Great Britain are entitled to the highest praise. Modern artists are also distinguished, above all others, by the facility and accuracy with which they take copies of antique specimens of sculpture, in common plastic materials. The utility, as well as elegance, of this mode of multiplying the monuments of ancient genius, make it worthy of being noticed among the honours of the eighteenth century.

In France a new method of representing the human figure has been lately adopted. Guirhard and Dehl, of that country, in 1800, completed a human figure in porcelain, of four feet high. This is, probably, the largest made of the same material ever seen. They can, however, still magnify them to the size of life. The advantages to be derived from adopting this kind of statuary are durability, cheapness, and expedition and ease of production. Porcelain is as hard as silex, and less liable to injury than marble. These figures may be prepared in a mould, by which means the statues of great men may be multiplied with little labour, and at a small expense

Mr. James Tassie, of London, with a view to the further advancement of the imitative arts, has discovered a method of transferring the figures and heads of antique and modern engraved gems into coloured glass and enamel, similar to the originals in colour, durability, and brilliancy. This has

* Garnet's Annals of Philosophy, &c. for 1800.

been pronounced by some connoisseurs to be a discovery of great value for perpetuating the works of miniature sculpture. By means of it many remains of ancient genius, which were lost to the world in general, may be universally diffused in all,their original beauty and excellence *.

Toward the close of the century under consideration, a collection was made, in Paris, of all the Monuments of Sculpture which France could afford, from the eighth to the eighteenth century, and arranged according to the order of centuries. This is the first, and the only collection of the kind, ever made. It is the only school in which the progress of sculpture, during the middle ages, can be advantageously studied t.

SECTION III.

ENGRAVING.

This art, which was not known prior to the middle of the fifteenth century, was brought, in the course of the eighteenth, to a degree of refinement and perfection which forms one of the signal honours of the age. And although some specimens

Monthly Magazine, Lond. vol. vii.

+ Description Historique et Chronologique des Monumens de Sculpture, réunis au Musée des Monumens Français; par Alexandre Lenoir.

The ancients, it is true, practised engraving on precious stones and chrystals, with very good success; but this is rather a species of sculpture. The art of engraving on plates of metal, and blocks of wood, from which to take prints or impressions, was not known till the period above mentioned.

C

of this art, of a very early date, display the spirit. of the painting they were intended to copy, with a success which has never been exceeded; yet, considering the general excellence of engraving, it certainly never attained so high a degree of improvement, in all respects, as during the century under consideration. The instruments for prosecuting this art have been, within the period in question, greatly improved both in power and convenience; new kinds of engraving have been invented; and the methods before known carried to an extent of beauty and elegance unknown to the artists of any preceding times.

A method of Engraving on Glass was invented toward the close of the century under consideration. This is done by means of the Fluor Acid, discovered a few years ago by Margraaf and Scheele. To effect this kind of engraving a glass plate is covered with melted wax or mastic. When this coating becomes hard, it is engraved upon by a very sharp-pointed needle, or other instrument of that kind. A mixture of oil of vitriol and fluor acid is then put upon the plate, and the whole covered with an inverted china vessel, to prevent the evaporation of the acid. In two days the plate, being cleared of its coating, exhibits all the traces of the instrument.

Engraving in Aquatinta is also a recent invention. This is a method of Etching on copper, by which a soft and beautiful effect is produced, resembling a fine drawing in water colours or Indian ink. The artists who most distinguished themselves in this department of engraving, within the period