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who has yet scarcely entered the lists. We think no one can look upon the two younger children in this group, without feeling himself better in some shape or other. The picture is in a bad light and wants varnish.

No. 29. Landscape, cattle, and figures. Williams. We do not know this painter, but his picture is far beyond mediocrity. Nos. 30 and 31. Are two beautiful copies of the Incredulity of Thomas and an Ecce Homo.

Nos. 35 and 48, are pictures by Baptiste Monoyer, and the art can scarcely produce any thing so fine in the way of Flower painting.

No. 41. Astronomy. Courtin. A picture of fine finish, with excellent colouring and beautiful drapery.

No. 108. Hercules and Omphale. Francis le Moine. This is a picture which would do honour to a painter better known. The drawing is fine and the colouring exquisite.

No. 101. Dogs pursuing Hares. Snyders. This picture would rank among the first in any collection. It is the work of the greatest master in this species of composition. Francis Snyders, or Sneyders, was born in Antwerp, in 1579, and died in 1657. His genius prompted him to the painting of animals, and of his excellence this picture is a sufficient proof. He not only excelled in imitating nature, but his judgment and taste in choice correspond with his correctness in design. His colouring is that of nature, and the actions of his animals are full of life, spirit, and truth of expression. Rubens, Jordaens, and Snyders, were friends, and painted many pictures in conjunction. Jealousy is only the product of little minds.

Nos. 58 and 60. Landscapes with many figures. Velvet Brughel. These are litthe pictures of great merit. The figures are particularly fine. This artist, whose Christian name was John, Velvet being an appellation derived from his dress, lived in the 16th and 17th centuries, from 1560 to 1625. “His works are admirable in every respect," says Pilkington, "the only fault found with them is his distances being too blue." He painted flowers with great skill and beauty, and in some of his larger compositions was assisted by Ru

bens.

The department of miniature has only to boast of an Isabi and two portraits of ladies, by C. Ingham and N. Rogers.

The drawings, but for the productions of M. Milbert, and a few others, would be wretched indeed.

No. 21. Portrait of Mademoiselle Du

clos, a celebrated actress of the 17th century. Largilliere. A picture of uncommon merit, well drawn and finely painted, though somewhat hard. The graceful disposition of the hands and arms, the one upholding the rich and highly finished drapery, and retiring into shadow, the other elegantly displayed in the light of the picture, shows a knowledge of composition worthy of study and imitation. This picture, so unlike any other school, is an honour to the French.

No. 201. The Bay of New-York-off the West battery. Alexander Robertson. This is a work of uncommon truth and just views of nature. The author of this picture can exemplify the art he teaches.

No. 175. The Virgin with the Infant Saviour, St. Catharine and Angel. Parmegianino. "The first scholar," as the Catalogue informs us, "of Corregio." "The titles of pictures, and the names of the painters are given," says the Catalogue," as sent in." This we know is a practice adopted by other Institutions, but we think a more independent mode of conduct would be desirable in the directors. We likewise think they ought to be independent enough to reject pieces without merit and indifferent copies. No. 175 is recommended by merit far beyond a name. It is a good, though injured picture.

No. 2. Perspective view of a Palace, with beautiful architecture; a number of figures; a bay, and a vessel just arrived in port. De Lieven. An eccentric composition, evincing skill without judgment.

No. 19. Figures, animals, and landscape. Theodore of Naples. A composition with masterly design and pencilling, as is No. 26, by the same hand.

No. 200. The three Mary's at the Tomb. Albano. This painting, though not uninjured, is such as would honour any collection. The composition combines grace with the severity of the historical great style. The head of the woman most in light is beautiful. Albano, or Albani, was a native of Bologna; he studied under Guido Rheni. Women were the favourite objects of his studies, and he succeeded in an eminent degree in his representation of beauty. He flourished in the 17th century.

Gio

No. 195. The birth of Christ. vanni Bolanger. A picture deserving a better situation in the Gallery. This Italian historical painter, was a cotemporary of the last mentioned, and likewise a pupil of Guido. He was principal painter to the Duke of Modena.

No. 189. An old woman by candle

Tight. Guelardo delle Notte. A picture worthy of attention from the painter's adherence to nature.

The west end of the Gallery, where heretofore the unrivalled excellence of our exhibition has reigned, possesses now, with the exception of Mr. Milbert's drawings before mentioned, Mr. Busby's drawings, and three or four paintings, nothing to recommend it. It would appear that the Managers of this exhibition had erroneously conceived themselves bound to hang up all the pictures belonging to a certain large collection, because loaned to the Academy by the proprietor, and unfortunately the largest of these pictures are generally the worst. If some of the paintings we have noticed with applause had possessed size in addition to their merit; if instead of 10 by 20 inches, we could have seen 10 by 20 feet, of equal excellence, we should have been willing to remain deprived of our Wests and Trumbulls for a few weeks.

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There are in the present exhibition many pictures of merit, which we have not had time to notice, and many por

traits by artists living among us, which we purposely avoided noticing, though many of them are entitled to high praise. We shall conclude our present remarks on the subject of the Fine Arts, with the sincere wish, that the Academy, which has by the exertions of the Directors arisen in less than one year to its present honourable station, may be enabled to go on to the accomplishment of its laudable objects, the establishment of schools as well elementary as for the higher branches of the arts, the support of professors, and the general diffusion among our citizens of that taste which leads to urbanity, and cherishes the better passions of our frail nature.

An engraving, on a quarto sheet, representing Martin Luther before the Diet of Worms, has been published, and is for sale in this city. The design is by Ramberg, an eminent German painter, and the plate has been engraved by Maverick, of Newark, N. Jersey. The tout ensemble is excellent.

ART. 11. RELIGIOUS INTELLIGENCE.
GREAT BRITAIN.

IN
N July 1813 an act of Parliament passed
repealing the penal laws, then in force
in England and Scotland, against persons
who blasphemed the Holy Trinity. A
doubt has existed whether the act extend-
ed to Ireland; a bill is now in progress,
expressly placing Ireland on the same
footing of religious liberty. After this
we shall consider the proscription of Ca-
tholics an irreligious, rather than a reli-
gious persecution.

UNITED STATES OF AMERICA.

NEW AUXILIARIES TO THE AMERICAN
BIBLE SOCIETY.

The Bedford County B. S. of Virginia, James Turner, Cor. Sec.;-the Oxford B. S. in Chenango County, (N. Y.) recently instituted, Mr. B. Lacy, Cor. Sec.; -the Samford and Cortright young men's B. C.; Delaware County, (N. J.) formed the 7th July, 1817, Adam Helsic, junr. Cor. Sec.;-the Female B. S. of Madrid, St. Lawrence County, (N. Y.) formed in May 1817;-the Meadville B.

S. (Pa.) became auxiliary 5th July, 1817,
Rev. Timothy Alden, Cor. Secretary.

These make the number of auxiliaries to the American B. S. to be one hundred and two. (Christian Herald.)

The Rev. Isaac Hurd has been installed at Exeter, N. H.

The Rev. Solomon Benett has been ordained to the pastoral office, in Winchester, N. H.

The Rev. Soreno E. Dwight has been ordained as pastor of the Park-Street church, in Boston.

The Rev. James Coleman, and Rev. Edward W. Wheelock, have been ordained in Boston, as Baptist Missionaries to India.

The Rev. Messrs. Swift, Parsons, Graves, Butler, and Nichols, have been ordained, in Boston, as missionaries.

In the late visitations of the congregations of the Protestant Episcopal Church in the state of Connecticut, from August 6, to September 4, in 33 towns, by the Rt. Rev. Bishop Hobart, the number of persons confirmed was 1275

ART. 12. THESPIAN REGISTER.

NEW-YORK THEATRE. HE theatrical season commenced on THE the 1st of September, with the Comedy of Laugh when you Can.' The part of Gossamer was indifferently played by a Mr. Williams, from the Boston Theatre. Mr. Barnes's Bonus was very creditable, and Mrs. Baldwin did great justice to Miss Gloomly. The afterpiece was the worn-out melo-drama of the Broken Sword.' We had heard Capt. Zavior's long story almost as often as poor Pablo, -though we had not before seen Mr. Jones in that part. We cannot approve of the change; nor do we consider the managers authorized to vary the cast of a piece this manner. But they have a very tractable audience to deal with. The 'Belles' Stratagem' and the Wags of Windsor,' were played on the 3d, and afforded a rich treat. Mr. Simpson's Doricourt is very fine; Barnes's Hardy decidedly good; Robertson plays Sir George Touchwood better than most of his characters, though he has not improved in it; and Hilson's Flutter is excellent. Miss Johnson made her first appearance this scason in Letitia Hardy. Mr. Hilson's Caleb Quotem in the afterpiece was in his happiest manner, and Mr. Pritchard's Looney Mactwolter was a very comical Irishman. The Poor Gentleman' was poorly played on the 5th. On the 6th The tragedy of Isabella' was performed, and admirably sustained throughout. Mrs. Barnes's Isabella was in the very first style of acting. We have never seen the part so well played,--and we have seen Mrs. Whitlock in it. We are happy fo notice this lady's improvement in the modulation of her voice. The curtain rose so late, that we were unfortunately too sleepy to stay to Mr. Hilson's Somno, though we doubt not it would have enlivened our dreams.

On the 8th the comic opera of the 'Maid of the Mill' was revived for the purpose of bringing Miss Johnson for ward in Patty, in which she appeared to advantage, though we did not admire her costume. A Mr. Holland, from the Dubin theatre, made his debut in Giles. His performance was on a par with the part. Miss Dellinger gained great and deserved credit in Fanny. We were absolutely astonished at her ease and animation. On the 9th the comedy of To Marry or Not to Marry was represented. Mr. Simpson's Willowear was very spiritedly executed. Miss Johnson was quite inte

resting and naïve in Hester. We cannot but think, however, that she will please more in parts which she has studied less. Mrs. Baldwin was dressed with great propriety as Sarah Mortland, and did justice to that truly respectable character. On the 10th a novice made his appearance in Hamlet. He entirely failed in his attempt. Mrs. Darley was interesting, but not so impressive as we have sometimes seen her in Ophelia. On the 11th a new melo-drama, called the Bold Buccaniers, or the Discovery of Robinson Crusoe' was brought out. It is founded on Defoe's familiar novel. The piece has little merit. Mr. Hilson and Mr. Barnes in Bluff and Nipcheese give it its principal support. The new scenery is very finely painted,-though the back curtain is so scant as not to cover the horizon. This is a common fault in the scenery of this theatre. It is in our opinion very awkward to have the horizon, as it is technically termed, divided into two sliding screens. In the first place they never fit so as to appear united, and in the next place to accommodate these slides the stage is disfigured and encumbered with planks containing grooves for them to run on.

The curtain is much more convenient and elegant.

On the 12th the Soldier's Daughter' was performed, the part of the Widow Cheerly by Mrs. Young of the Charleston Theatre. This actress was received by the house with the most flattering plaudits. Her face and person are prepossessing; her voice is unaffected and distinct, and her gesture and movement are graceful and dignified. She was very much wanting, however, in vivacity in the personation of this character. Mr. Simpson exhibited his usual spirit and ease in Frank Heartall; Mr. Barnes's Governor Heartall was in perfection; and Mr. Hilson's Timothy Quaint was one of the most exquisite things of its kind. The

School for Scandal' was played on the 18th. We were present but a few moments. Hilson delighted us as usual, in Sir Peter Teazle. We are astonished at the versatility of his powers. In the course of a few evenings we have seen and admired him in Flutter, Harry Bluff, Caleb Quotem, Timothy Quaint, and Sir Peter Teazle.

The Tragedy of 'Isabella' was repeated to a full house, on the 13th. On the 16th Mr. Young made his appearance in the part of Charles Austencourt in the

Comedy of Man and Wife.' Mrs. Young played Helen Worrett with some discrimination, but without sufficient sprightliness. Her Priscilla Tomboy in the afterpiece of the 'Romp' was played with life and spirit, and very much to the satisfaction of the audience. Mr. Jones merited commendation in Sir Willoughby Worrelt, and Mrs. Baldwin was equally entitled to it in Lady Worrett. Mr. Barnes was very quizzical in Ponder. On the 17th two Melo-dramas were performed, which we excused ourselves from witnessing. On the 13th the tragedy of Pizarro' was represented. Mr. Young played the part of the tyrant with some effect; Mr. Simpson's Rolla was excellent; and Mrs. Barnes was truly interesting in the gentle and affectionate Cora. The Drama of 'Abalino' was played on the 19th. Mr. Robertson played Flodoardo indifferently well,--as Abalino he grossly misconceived the design of his author, in the interview with the Doge. Instead of assuming an air of impudent, familiar raillery, he stormed and blustered most furiously. Mrs. Young did not appear to feel the character or situation of Rosamunda. We were happy to see Mrs. Wheatly in Iduella. The afterpiece of the Spoil'd Child' was admirably played. Mrs. Young made a most mischievous Little Pickle, and Mr. Hilson's Tagg was irresistibly ludicrous. Mr. Jones and Mrs. Baldwin did justice to Mr. and Miss Pickle. The Tragedy of "The Stranger' was played on the 20th. There was no change in the cast of the piece, the performance of which we have already noticed. On the 22d we were presented with a new Tragedy, called the 'Apostate,' written by R. Shiel, Esq. We find the outline of the fable of this drama sketched in a British Magazine, of which we shall avail ourselves.

"The scene is laid at Grenada, in Spain, during the reign of Philip II. The piece opens with the entrance of Hemeya, the heir of the Moorish Kings, with two of his friends, who endeavour to rouse him to a sense of the wrongs of his oppressed nation. He deplores their hopeless condition and his own; avows his love for Florinda, the daughter of Count Alvarez, and his despair at the encouragement given by her father to the suit of Pescara, governor of Grenada.

The mansion of Alvarez suddenly takes fire; he vows to give his daughter and fortune to the man who shall save her. Hemeya, ignorant of this promise, rushes through the flames and bears the swooning Florinda in safety to the gardens of the casVoL, I, NO. VỊ.

tle, where love and gratitude break the bonds of maiden reserve, and she acknowledges the passion which she had long secretly cherished for her deliverer. Scarcely has Alvarez, in fulfilment of his oath, joined the hands of the lovers, when Count Pescara enters and produces a royal edict, forbidding, upon pain of death, any Moor to marry a Christian woman without previously renouncing the Mahometan faith. Alvarez demands an immediate abjuration of Hemeya, who finding that he must relinquish either his mistress or his religion, consents, after a vio lent inward struggle, to become an apostate. At this critical moment, Malec, his old preceptor, who has been endea vouring to rouse the remains of his nation to re-assert their independence, in the hope of placing the crown of his fathers on the head of Hemeya, arrives at Grenada. He employs the strong arguments of patriotism and honour to dissuade Hemeya from his purpose, and has nearly prevailed, when Florinda appears and fixes her hesitating lover. Malec, enraged by the effect of her charms on the mind of his pupil, advances to stab her, but her beauty unnerves his arm, and he drops the dagger at her feet. Hemeya retires with Alvarez to prepare for his abjuration; while Malec repairs to his friends, to acquaint them with the intended insurrection. They are interrupted by the sudden entrance of Hemeya, who advises Malec to fly, as the officers of the Inquisition are coming to seize him. The undaunted Moor commands his friends to withdraw from the danger; but though he has the same opportunity of escape, he, with more resolution than prudence, remains to be taken himself. The servants of the inquisition, headed by Pescara, force the gates; Malec is accused of having endeavoured to seduce a convert, meaning Hemeya, back to the Mahometan faith; but is informed that he may save his life by becoming a Christian. The unhappy prince now perceives the artifice of his rival, who, under the mask of friendship, had sent him with the warning to his preceptor. Malec is led off: Hemeya draws upon Pescara; they fight, but are separated by Florinda, who rushes between them, and the governor retires. Hemeya vows to save Malec or perish; and before he goes, he makes Florinda swear, that she will die rather than become the wife of Pescara. A train of inquisitors lead Malec in chains to execution: Hemeya follows in disguise, and with the assistance of the Moors rescues his preceptor from the stake, Malec 3 N

and his friends fly from Grenada, with Florinda, while Hemeya, left alone to defend the pass and afford time for their escape, is overpowered. Florinda is retaken, and as the only means of saving the life of her lover, she consents, notwithstanding her solemn vow, to become the wife of Pescara. The fifth act opens with an exquisitely beautiful moonlight view of Grenada, and the Moors, from the Alpuxerra mountains, hastening to rescue Hemeya. The scene changes to the prison: Florinda enters in bridal garments to free her lover, who spurns her when he learns that she has married his mortal enemy. Pescara follows his bride to the prison, and, enraged at the affection which she breathes for Hemeya, orders him, in breach of his promise, to instant death. The executioners seize him: at this moment an alarm proclaims the success of the Moors. Pescara attempts to stab Florinda; Hemeya breaks loose, wrests the dagger from his grasp, and plunges it into his heart. The Moors rush in: Hemeya's exultation is complete, till Florinda, pale and faint, declares that she had swallowed a deadly poison before she approached the altar. Hemeya, in despair, stabs himself, and Florinda sinks lifeless on the body of her lover."

From this account of the plot of the 'Apostate,' it will be easily believed that the representation must be interesting. The plot is a good one, and the incidents areskilfully contrived, and conduce to the advancement of the main action. Religion, love, patriotism, and revenge, furnish the motives which influence the conduct of the principal persons of the play, and afford fine topics of declamation. The style of this tragedy, though in the main well-sustained, and vigorous, is too deficient in simplicity and purity to escape censure. Forced conceits are not unfrequently mistaken for fine thoughts, and extravagant hyperbole for genuine passion. With the performance we were, on the whole, very much pleased. The characters were cast exactly right, according to our opinion of the talents of the company, and all seemed to exert themselves to please. We do not now

recollect any tragedy hero to which Mr. Simpson does so much justice, by his representation, as he does to Hemeya; and Mr. Pritchard, in Pescara, certainly has added much to his reputation; some passages in the performance of the latter were exceedingly fine. Mr. Robertson, in Malec, fortunately found a character to justify all the emphasis he could give it, though he was, here, too monotonous, and we fear he is destined always to be so. Mrs. Barnes's Florinda was, on the whole, so well played, as to add very much to the high opinion of her talents which we have ever entertained. Still we think, and therefore we must so express ourselves, that she sometimes rants: too much praise cannot, however, be bestowed on some passages in her performance; and, in particular, we think the prayer she uttered in behalf of Hemeya, as she leaves him, near the end of the first act, could not have been uttered in finer taste, or with a deeper feeling of devotion and love. As the play, however, has been performed but once, we shall take another opportunity, after it has been more carefully studied, to express our opinion more at length.

On the 23d the operatic romance of the 'Mountaineers' was played. Mr. Young acquitted himself very respectably in the arduous part of Octavian. Mr. Hilson and Miss Johnson, as Sadi and Agnes, contributed much to the mirth and gratification of the audience. They sung several songs and duets with great force and effect. We admire the spirit which animates Miss Johnson, but could wish that she were not always so earnest, so empressé in her dialogue. It is a fault, however, that will soon wear off, though we hope her enthusiasm will not abate. Mr. Williams's Virolet was the same smirking, insignificant nothing, that he makes of every thing. Mrs. Groshon's Zorayda had, as usual, more airs than graces. We did hope that Mrs. Darley, in boy's clothes, would have lowered her key a little; but she pitched her treble at the very top of her compass.

The Apostate was repeated on the 24th.

ART. 13. MONTHLY SUMMARY OF POLITICAL INTELLIGENCE.

T

EUROPE.

GREAT BRITAIN AND IRELAND.

HERE seems to be some disaffection yet remaining in the northern parts of Great Britain, though in general tran

quillity and obedience prevail. Manufactures are reviving, and in Manchester particularly, it is stated that the manufacturers in woollen, iron, and of lace, are once more in full employment. A bill

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