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Christ's Demand of Attention and Under. Thoughts on the Sufferings of Christ. By standing, 'lustrated by a Sermon preached the Author of the Refuge. 25. Vov. 20, 1809, lo a Congrebration of Profestant Dissenters at York. By William
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Blomfield's Topographical History of the Sermons on varisus Sunjects, selected and County of Nortolk. 11 vols. rojal 8vo. improved from Archbishop Piilotson's Works.
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VOYAGES AND TRAVELS.
MONTHLY RETROSPECT OF THE FINE ARTS. The Use of all New Prints, und Communication of Articles of Intelligence, fc. are
requested under Cover to the Care of the Publisher, The Fine Arts of the English School: illustrated demy, in his Regulus, Hannibal, Cori
ty a series of higbly-finished Engravings, olanus, Paul in the island of Malta, and from Painting's, Sculpture, and Architectures other numerous productions of bis wea. by the wost eminent English Artists; with riless pencil and imagination. What Histeraal, Descriptive, and Biographical modern schools can equal Kaxmail, Leiter Press. Edited by John Britton, I.S.A. Bacon, Banks, and many other Britisha London, priated for Longman, Hurst, Rees, and Orme, Paternoster-row; 7. Taylor, sculptors? How many are the buildings HIgb Hoburn; and W. Bond, 87, Newman.
that surpass what Whitehall Palace ouglit
to have been; what Sir Christopher street; by C. Wbitting bam, Mall, Chiswick.
Wren was presented from makiny St. illustrate the works of British Paul's; and what the Bank,Somerset Place, through the mediun of engravings, is the innumerable tine palaces of our nobia laudable and highly important object. lity and gentry, scattered over the kingIt is now too late, and British art too dom, are, compared with their crowds of firinly seated in the temple of fame, to inferiors? The basilica of St. Peter, at need the "twice-told tale," of a refu. Rome, may surpass St. Paul's, in size, tation of calumnies against her, so de- and Santa Maria da Fiore, in the beauticidedly false, as scarcely ever to have ful outline of its outer dome; but can the deserved serious attention. The British raunted Pantheon at Paris, any way withSchool of Arts, particularly of painting, out insult be compared to it?' where in is certainly now the first in existence; ancient or modern art, is the peristyle and its works claim the attention of the surrounding the dome of St. Paul's to be most envinent connoisseurs, and rival equalled? It would be a work of superethose of antiquity. Barry and Fuseli rogation to say more, and an act of injushold a most distinguislied rank in the tice to say less. school of Michaelangiolo: and the series The work now under examination is the of pictures on human culture, in the great first number of a new publication, the room at the Society of Arts, in the Adel- intention of which is amply detailed in the phi, of the former; and the Miltonic quoted title. Its contents are specimens gallery of the latter; are proofs of the of English portraiture, historical paintassertion. The best colourists of the ing, sculpture,, and architecture. Venetian school, are boldly followed by 1. A portrait of John Dunning, Lord Reynolds, Hoppner, Shee, Beechey, Ashburton, engraved by William Bond, Phillips, Owen, &c. &c, and the vigo - from a picture by Sir Joshua Reynolds. Tous vagination and purity of design of 2. Thetis bearing the armour to Achilles, Rataelle, are more than aimed at by the engraved by the same artist, froin a pica, Tilustrious president of our Royal Aca- ture by Benjamin West, P.R.A. 3. A
view of my alto rilievn, from Flaxman, quires. The casque, formed, as Homer R.A. representing the passage from the describes, to the contour of the hero's Lord's Prayer, “deliver us from evil,” face, and embossed with sculptures, the also engraved by Bond. 4. A geome- shining cuirass, the sword and belt, are trical elevation of the west front of St. antique, and purely Grecian. The Paul's Cathedral Church, London, Sir painter' has judiciously introduced the Christopher Wren, drawn from actual celebrated shield, so exactly described andmeasurement by James Elmes, ar. by Homer; in the centre he has shown chitect; and engraved by J. Le Keux. the sun, the earth, the Pleiades, and 5. A plan of the substructure of the the IIyades; the principal compartment samne building, also drawn by Elmes, which is not concealed by the figure, or and engraved by Rotfe.
parts of the arms, is the representation Of the portrait it is sufficient to say, of an Hymeneal ceremony; and near to that it is worthy of the pencil of Rey- it is part of a pleasant vale, with Bolds, and is faithfully and elegantly flocks in repose. engraved in a judicious mixture of the In short, the more this classical picline and stipple.
ture is studied, the more its beauties and Of the historical subject much can- merits are discovered. not be said inlour limited space: there The engraving also, a mixture of the føre to the picture itself, (which must be line and stipple, is delicate, and elaboremembered in the exhibition about two rately finished. seasons ago, and is the property of, and The alto-rilievo, by Flaxman, is a was painted for, Ms. Thomas Hope,) chaste and sculpturesque composition. and to the engraving, our readers are No other sculptor knows so well as referred. Three personages compose Flaxman how far sculpture should go. the scene of this grand picture ; Thetis, Ile never represents perspective distance, Achilles, and the dead body of Patroclus: and foreshortening; ponderous clouds, Achilles is seated by the couch of his and bulky rays of sun-shine. This exmurdered friend, whose arm le is co- ample is but a part of a mouinent vering with his right hand, while his left to the Baring family; it will therefore supports his head. He is just roused be best to leave analysing it more at from his grief by his goddess-mother, who' large, till the complete work comes beis descending with immortal armour fore the public eye. The indefatigable made for him, at her request, by Vulcan; engraver, Bond, has also executed this his air bespeaks the hero breathing re- in a high degree of excellence. venge against the author of his wrongs. 5 and 6. St. Paul's Church, as a Thetis has her left hand on his shoulder, building, has been so often criticised, pacifying her son, and directing bis at- and we are become so well acquainted tention to the arms, worthy of the hero, with its beauties, that it requires but k and fit to grace a god." A reference little coipment here. The drawing apto the divine poem of Homer, not only pears to be correct; and as, it is drawn for the immediate passage of the picture, from actual measurement by a profesbut for the poetical characters of the sional man, it may be supposed to be pictorial personages, would prove, be exact in its diinensions, and scientifically yont possibility of contradiction, the correct in its parts. The engraving in truth of character, graudeur of expres- the line manner, by Le Keus, is clear, sion, and the profound knowledge of the and brilliant; and the architectural parts passions, that pervade this picture. well made out. The same character,
The bieads of Thetis, of Achilles, and (as far as the work goes) also belongs to sach part of Patroclus as is seen, are the plan of the substructure, also drawn perfect examples of expression. The by Elmes, and engraved by Roffe. whole figure of Achilles is academically Six Prints, illustrative of the Lay of tee last drawn, and is in itself a model. The
Minstrel, a Poem by Walter Scott, esq. bust and arm of Thetis' are beautiful, Drawn by Richard Westall, R.A. engrased and highly descriptive of the grace of by Charles Hearb, and publisbed by Jobs the 'daugliter of Nereus. The colouring Sharpe, Piccadilly. possesses both suavity and truth; the These prints are taken from the most lights are brilliant, and the shadows prominent passages in Mr. Scott's beaue transparent; the arms and drapery are tiful poem of the Lay of the Last Minwell disposed, and unite in perfect bar- strel; and are lively personifications, by mony of tone. It has no useless acces a poetical painter, from an interesting "sories, not one but what the story re. and attractive work.
The subjects are taken from the fol- Portrait of the Marchioness of Stafford, engralowing passages :
ved by C. Turner, from a picture by . Pbil
lips, R.A. Page 28, canto 1, stanza 18:
The picture from which this portrait is Sbe raised her stately head,
engraved, was a prominent feature in the And her heart thrubbed high with pride.
exhibition before last; and it is not saying, Page 46, canto 2, stanza 5:
too much in favor of it, to assert that And dar'st chou, warrior, seek to see, the engraving (in mezzotinto) is a faidul What heaven and hell alike would hide ? copy, and in a clear and brilliant style Page 90, canto 3, stanza 22 :
INTELLIGENCE. She thought some spirit of the sky
Royal Academy.--Mr. Fuseli is reHad done the bold moss-trooper wrong.
elected professor of painting, in room of Page 104, canto 4, stanza 6:
resigned. Mr. Fuseli Thus to the ladye did Tenlinn show
held this appointment prior to Mr. Opie, The tidings of the English foe :
but on the death of Mr. Wilson, he racaBelted Will Howard is marching here. ted the professorship, that he might sucPage 164, canto 5, stanza 25:
ceed Mr. W. as keeper of the academy;
and by his re-election, le now holds Yet not Lord Cranstown deigned she greet,
both situations. Though low he kneeled at her feet.
Mr. Soane continued his lectures with Page 206, canto 6, stanza 30; the same unabated zeal as his former, The mitred abbot stretched bis hand, (vide last month's Magazine) and with And blessed them as they kneeled.
che sanie liberal elucidations of thun, by
valuable drawings, at the rate of above The composition of the six pictures is sixty each night. But owing to some excellently managed, the story is clearly unaccountable fatuity that has attended cold and well made out, the figures are the architectural department of the actexquisitely and tastefully grouped, the densy for some years past, the students costume is correct and well managed, and are suddenly deprived of his instructions, all in a luigh style of excellence. The which are the first they have recuired engravings by Mr. Charles Heath, in the since the death of Mr. Thomas Saudby, line manner, are high and creditable in 1798. specimens of his abilities: they excel The following fact deserves some aga most of his cotemporaries' for correctness tention :- Vr. Lonsdale the portrait of drawing, fidelity of representing the painter, is employed by the Marquis of painter, depth, delicacy, and variety of Douglas to paint for him portraits of their colour; and that correct distinction of Majesties, in lieu of those taken by the substances, that so highly distinguishes the Datch in coming from St. Petersburg. engravers of the English school. Mr. He therefore applied a few days since, Heath bas proved, by these and other to the president and council, for permis works that shall be noticed in some suc- sion to copy those done by Sir Joshur ceeding numbers, and are now before Reynolds, in their possession; who have the public, his just claims to the title of a refused trim leave!' The Marquis thereline-engraver of the first talents; and a fore must employ an academician, or be worthy inheritor of the great talents of his satisfied with Mr. L.'s copies from other father, who has long stood in the first pictures; but Mr. Londsdale means to rank in art.
apply to buis majesiy, and know whether This graphic illustration of a favorite the academy is an exclusive monopoly, or poet, is not only a great acquisition to intended for the benefit of the public at Lind with the work; but, from its bigha large, and of the fine arts. -" They maintrinsic merit, a valuable addition to the nage these things better in France."-portfolio of the most fastidious collector. Sterne.
PROCEEDINGS OF LEARNED SOCIETIES.
NATIONAL INSTITUTE. Ecouen, perhaps more perfect, for the Report on the Progress of the Fine most famous of the Montmorencies; and
Arts, from the Epoch of the French Anet, which appeared to be the work of Revolution, (1789) to the Yeur 1808, the Graces, for the woman who to the made by a Commission of the Instie greatest loveliness, and the ninst charins, tute of France, by order of the En- united the greatest digivity of character,
Diana of Poitiers. peror Napoleon.
The horrors of the massacre of St. IS Majesty being in council,* a de- Bartholomew, and its fatal.consequences, Fine Arts of the Institute, was presented barbarism. Athens, Rome, Florence, by the Minister of the Home Depart- might preserve the arts in the midst of ment, and admitted to the bar of the political troubles, and even obtain beaucouncil.
tiful inonuments from them; but reliThe deputation was composed of gious wars spare nothing that is liberal. M. M. Bervic, president; 'Vincent, When Androuet du Cercean, one of the vice-president; 1. Lebreton, perpetual restorers of architecture, forced to quit secretary; Vien, a senator; Moitte, his country or to abjure bis mode of Heurtier, Gossec, Jeuffroy, Grandmesnil
, worship, preferred exile; when John Visconti, Dufourny, Peyre, and Chaudet.
Goujon was assassinated as a Huguenot, After a speech from the president, the while working at those beautifal pieces following report was read by the se- of sculpture of which our school is 50 cretary :
proud, France was no longer worthy of SIRE, The view which we submit to your
possessing the fine arts.
We must pass to the age of Louis Majesty, having for its object not only XIII. to witness their revival. Not that to describe what the arts have pro- llenry IV. did not protect and support duced within the last twenty years, but them: bis natural inclinations, and his also to point out what may influence generous character, made him their their prosperity, we have thought that, friend. lle assembled the ablest artists, in order the better to second the gene. and gave them apartments in the Louvre, rous intentions of your iinperial decree, where he often visited them: but thie “it would be proper to trace father back misfortunes of all kinds which the civil the causes which have contributed to war haci left for him to repair, his plans their prosperity, or their decline, in of policy, and death, which cut him off France. The sciences connect their in the midst of his glorious career, prelabours, and the truths deduced from vented him from giving a strong impulse them, with incontestable principles: we to the arts. are obliged to appeal to examples, in Richelieu encouraged them all : le order to establish rules, and to convince. seized the sacred fire which John Cousita May we then be permitted to consult Jiad happily preserved during the dark for a moment our ancient annals ?
reigns of Francis II. Cbarles IX. and At the epoch of 1789, the fine arts Henry III. His vigorous administration had completed in France their entire impressed on the fine arts a more decided revolution. Brilliant with youth, strength, character, and greater perfection, than and grace, under Francis I, who natu- they had under Louis XIV. who, it is ralized them, and uuder llenry II, who, true, conferred on them greater magniwithout loving them as much as his ficencc. father, equally protected them, the arts The cardinal de Richelieu prevailed still threw a lustré on the only noble on Le Poussin to quit Rome, in order to passion of Catharine de Medicis, her devote bis talents to the reign which that taste for magirificence. Thus, in less minister wished also to render illustrious than a century, were raised and einbele by the fine arts; and during a residence lished the palaces of the Louvre, the of two years, that great painter composed Thuilleries, Fontainebleau, the Luxem- cartontis for tapestry, allegical subjects bourg, for royal residences; the castle of 'for the decoration of the great gallery of
the Louvre, frontispieces for the fine Sitting of Saturday the 5th of March. editions produced by the royal presses, 3
recently established. Exceeding the or- formed the standard of opinion, and of dinary dimensions of his works, he drew the favours of the prince: submission the only great pictures that are still ex- was compulsory. Accordingly we find zánt by him.f . At the same time, Le in the arts, during the whole age, only Sueur painted the cloister of the Car- one naine worthy of being inscribed with thusians ; Philip de Champagne executed those of Montesquieu, Buffon, J. J. his pictures and portraits, so natural and Rousseau, and Voltaire: it is that of Vien, so full of truth; the Luxembourg was who put an end to that state of things. finished; the equestrian statue of Louis Let not the other nations of Europe XIII. was erected. Warin struck the avail themselves of that humiliation : no finest coins used by the moderns; while one of them could enter into competithe gold and silver-smiths prorluced ex. tion, if, instead of considering the general cellent models. Such was the influence causes of the prosperity or decline of of Richelieu on the arts at the com- the fine arts, we made a selection of mencement of the seventeenth century. their works, even since the regency. But when he was no more, they began to
Amongst the painters, the Coypels, decline: that profound knowledge of de- Restout, Carle-Vanloo; Boucher himsign, the taste, the grace, which charac- self, whom nature had gifted with imaterised the time of Francis I. and gination, wit, and facility; the statuaries Henry II. disappeared.
Bouchardon, Pigalle, G. Coustou, Fal. If the Fine Arts had so greatly degene- conet; would yet form a respectable list, rated since the time of Louis XIV. it which would admit of no rivalship, excepc was not because their administration had in architecture; in which we should have experienced any apparently great alter- to quote only three or four edifices ation. In the state of degradation to worthy of esteem, until the year 1752. * which we have just seen them reduced, In 1789, painting flourished in the their organisation was very nearly the French school, because it possessed both sane as under Colbert: they had always M. Vien, and his principal pupils. The for their administrator the director-ge- former is always the object of our veneral of the king's buildings, (hoard of neration, and the latter execute great works ;) and their masters had ibe titles works, which show that their talents are of first painter, and first architect. It still in their full vigour. We are inwas absolutely necessary to conciliate debted to them for a new generation of these last, in order to obtain prizes in the painters, in different branches, and in schools' employment, or the title of Aca- every one worthy of their masters. demician. In this artists succeeded by From their schools annually proceed the imitating their manner, and adopting young artists who obtain the great their tastes, their aversions : or hy not prizes, and repair to the imperial school daring to attempt any thing beyond at Rome, to complete their instrucwhat they knew, and particularly by re. tion. specting their babits. Such was the Painting is therefore not only flourishcommon law by which all the arts, and ing in France, but it never was more so. their academies, were governed. It was The same may be said of sculpture, that which at all times opposed every with this differevice, that the latter has kind of progress; but which was most yet formed only one generation since absolute with respect to the fine arts the art has been brought hack to good vader the reign of Louis XV.
taste, and the principles of the beautiful, The contrast which then existed be. The same statuaries who have thus retween the sciences, philosophy, and stored it, continue to afford examples of literature, on the one hand, and the fine success. But, as well as in painting, the arts on the other, has something very first pupils enjoy a reputation established singular in it; the former boldly attackeri on beautiful works. all their limits for the purpose of extend- Of all the arts, sculpture is that which ing them, whilst the others continued has achieved the greatest conquest under the most disgraceful servitude since 1789. It never appeared with which they had ever submitted to; under more distinction during the whole cene the necessity of conforming to the maxins, and almost to the orders, of two or cient Palais
Bourbon, (now the palace of the
The portico at the entrance of the an. three artists, who could only forın dise Legislative Body); the two buildings in the ciples of greater mediocrity than them- square of Louis Xv. (the Place de la Con. selves. But they were the distributurs corde); the great theatre at Versailles; and of employment and honorary titles; they the first court of the Palais Royal.
MONTHLY Mac. No. 196.