to literature. He appears to have formed a just estimate of the difficulties attendant on editing an antient author: these he describes with feeling and his sentiments may tend to convince some, on the arduous labours of the literati in behalf of learning. "To undertake such a work, says he, a religious enthusiasm for one of the most admirable remains of ancient eloquence is not enough to this must be added courage; even a forgetfulness of the inexorable censures of Denis of Halicarnassus, and the observation of Cicero, which tends to despondency. It is necestary to be encircled with commentators; to read the scholiasts, to consult manu scripts, to meditate on the sense of an author, to struggle with innumerable difficulties, and to vanquish them all, with the hope of ren dering clear what appeared to be obscure, and scarcely intelligible. I possessed the necessary courage; I have been supported by this hope; I have entered these conibats; and I have endeavoured to overcome these difficulties." Report annexes sufficient correctness to these expressions of our author, who certainly has contributed much to the better understanding of his principal. We doubt, whether his version will be admired as elegant, but we incline to think it will be regarded as just and faithful. The ac companiments to this edition are calculated to give it great advantages over most others. The memoir on the character of Thucidides is interesting: and this is followed by 1. The funeral discourse of Pericles, in commemoration of the Athenians who had fallen in sundry battles: 2 Reflections on the nature of the factions among the Greeks: 3. On the reconstruction of the walls of Athens, and the siege of Platea. Liber Studiorum; illustrative of Landscape Compositions, Historical, Mountainous, Pastoral, Marine, and Architectural. By J. M. W. Turner, R. A. Land. scape small Folio. Delivered in numbers; each sumber containing five plates, executed in imitation of drawings, by the process of Metzotinto. Nos. 1, 2, 3. Price 15s each. C. Turner, London, 1808. . we have heretofore done him justice, as we have admired his performances. The studies of such a proficient cannot but be acceptable to connoisseurs. The spirit of a sketch marks the master; and the whole will form valuable materials for future students. Mr. T. as a travelled man, will excuse a hint on the desirableness of obtaining correct views of places where remarkable events have occurred; for instance, and by way of explaining our ideas, as he visited Switzerland, he had opportunity of delineating scenes disting ished by the actions of those immortal heroes to whom that country was beholden for her liberty: and he is not to be taught that the rock on which William Tell leaped from the boat that was carrying him a prisoner, includes an interest beyond what is due to it as an article of scenery. Many other similar circumstances will oc cur to this ingenious artist. 责 Will our artists give us leave further to insist on the application of this principle to the national incidents of our own country? A few years ago several pictures of "the death of Rizzio" were painted, as if by emulation among rivals for public applause most of these exhibited an apartment much more spacious than, the real scene, of this action; and gave to their figures such attitudes as they never could have assumed in the place where the fact occurred. While thọ palace of Holyrood House is standing, this will be a reproach on those pictures. We might enforce this, by appealing to the propriety of identifying places reas dered important by incidents during the civil wars, and pourtraying them in pictures which treat of those incidents. And if we go somewhat further back in our history, since many places are extant, marked by various facts from the days of the seventh Henry to the present day, they ought to be visited and carefully consulted, by that artist who wishes his picture to tell the story with advantage: to which advantage fidelity and accuracy are indispensable requisites. To recommend this accuracy to every trifling composition, would be nugatory; but to such as aspire to the noble. character of impressing the mind, and transporting a spectator to the action; to such as paint for eternity," this labour and attention will be well repaid, by laste MR. Turner is well known as an artist who has paid particular attention to the effects of nature in he grandest and most interesting occurrences: for this,ing praise, and reputation. The Adventures of Robert Drury, during . Fifteen Years Captivity in the Island of Madagascar, containing a Description of that Island, an Account of its Produce, Manufactures and Commerce with an Account of the Manners and Customs, Wars, Religion, and Civil Polity of the Inhabitants: to which is added a Vocabulary of the Madagascar Language. Written by himself. 8vo. pp. 460. Price 8s. Stodart and Craggs, Hull, 1807. Catalogue Raisonné of the Pictures belonging to the most Honourable the Mar quis of Staford, in the Gallery of Cleveland House. Comprising a List of the Pictures, with illustrative Anecdotes, and descriptive Accounts of the. Excention, Composition, and characteristic Merits of the principal Paintings. By J. Britton, F.S.A. 8vo. pp. 170. Price 75. Longma and Co., and the Author, London, 1808. This work will do good-to the Arts, by promoting a purity of taste, and judicions direction of patronage, and to Artists by contributing to convince them, especially the rising generation of artists, of the necessity for reflection, investiga tion, and study. Mr. Britton shews himself to be an acute critic, and offers many hints that are well entitled to attention. The subject and the occasion, warrant the neatness with which the volume is executed, fine paper, and hot-pressed pages. No person can be admitted to view the Gallery without a ticket. To obtain which it is necessary that the applicant be known to the Marquis, or to some one of the family; otherwise he or she must have a recommendation from a person who is. THIS volume is reprinted from an edition in 1743, to which is prefixed, (as to this) a certificate of the good repute of the author, signed by Capt. W. Machett, in whose service we are informed Mr. Drury was; and who continued his friend ship to him to the last. This certificate is dated May 7, 1728. We cannot but wish that the editor of the present edition had favoured us with additional particulars of the writer or had, at least, pointed out means whereby the doubts which will As the admission of the public to the arise in the mind of the reader of this vo- enjoyment of the private collection of a lume might be removed. We understand nobleman, is a novelty in this country, that a correspondent of the Gentleman's and as we remember the host of objections Magazine has done somewhat on this sub-formerly urged against such indulgence, ject, since the publication of this volume; we shall state his lordship's regulations, and but for this testimony, we acknowledge that we should have consigned this work to a state of repose, among many others of unascertainable character. Mr. Drury it appears, had sufficient opportunities of witnessing and understanding the manners of Madagascar: and could we place implicit confidence in his judgment and testimony, we should probably do somewhat more than announce this edition. We know very little of the interior of the island of Madagascar: the French know more; but not enough to induce them to establish a settlement there though they have made many attempts. The contents of Mr. Drury's narrative offer no great additional inducement, though he describes, parts of it. we believe truly, as extremely fertile and pleasant. What he takes for Jewish observances among these people, might have been derived from the Arabs; who, nevertheless, would have stood aloof from their idoltary. The island is, no doubt, large enough for the residence of different races of people and what may be correct as to one of them may not apply to another. Applications for such tickets are inserted in a book by the Porter; at the door of Cleveand House, any day except Tuesday; when the tickets are issued, for admission on the following day.-Artists desirous of tickets for the season must be recommended by some member of the Royal Academy. It is expected, that if the weather be wet, or dirty, that all visitors will go in carriages. Thedays of admission are, Wednesdays, from 12 to 5 o'clock, in the months of May, June, and July. Our readers are aware that the first of these months may fairly be called " exhibition month, "în this metropolis, so that the admirer of art enjoys an opportunity of comparing the works of modern and of ancient skill, and of purifying his taste, by contemplating the most valued productions, left by the most eminent professors of former days for the admiration of posterity. Mr. B. well observes in his preface, that, something worse, are the characteristics of the Lower orders, and where frivolity, affectation, and insolence, are the leading traits in a class of lounging persons, who haunt most public places, it would be the excess of folly for gentlemen who possess valuable museums, to give unlimited admission to the public. Private collections are generally formed for individual gratification, and a private gentleman is naturally and rationally more disposed to study domestic comforts than to sacrifice it to public curiosity. Whenever, therefore, we are freely admitted, to examine and study (without extravagant taxation) the valuable repositories of art, in the houses of opulent persons, we ought to be thankful. If the enlightened few, and the real lovers of art, could be easily discriminated and selected from the idle, frivolous, and affected persons, who constitute the great mass of Society, I am persuaded that every proprietor of a Gallery would readily admit the former to view and profit by his collection. That such a selection is difficult has been recently manifested in the opening of Lord Grosvenor's splendid house. The apartinents were thronged, but many artists and literary gentlemen were unable to obtain admission. "We ought to be thankful," says Mr. B., and so we are. The inspection of his lordships's collection is a treat, and a handsome treat, too, and to be othewise than thankful,after having been handsomely treated, is a species of ingratitude for which our language wants an appropriate term: we assure ourselves, that the public will take this hint in good part. The general tenor of Mr. B.'s remarks may be inferred from the following specimens. 3. Baldassare Peruzzi. The Wise Men's Offering: Mathew, ch. ii. ver. 2. From the Orleans gallery. Mr. West, has also nobly and laudably dared to practise it in numerous pictures, the effects of wich would, perhaps, have been improved by the adoption of Grecian or Roman costume, &c. In criticising this or any other work which may demand my attention, I shall studiously strive to discriminate between truth and falsehood, history and fable: and shall also endeavour to regulate my strictures by the philosophy of triticism. The rising race of artists should be taught to derive every possible advantage from their renowned predecessors: and this can only be effected by kuowing how to select and appreciate the merits and excellencies of their pictures; at the same time to avoid their errors or defects. "Learn to be wise from others' faults, And you will do full well." 56. Gasper Poussin, A land cape. This very exquisite and almost perfect little picture, companion to No. 53, is a decisive illustration of an opinion which I have already urged, and am still disposed to cherish, that land scapes only require to be selected with judgment, and executed with taste and strict at tention to the colouring and tones of nature, to become pleasing and interesting pictures. There are various spots and scenes on the surface of the globe which almost irresistably excite the attention and admiration of a spectator. Their local features are either beautiful, grand, or picturesque, and their natural qualities are often powerfuly heightened by the adventitious, and even changing incidents of light and shade, clearness and mist. To delineate the first, with the most judicious and appropriate effects of the latter, is the duty of the emulous landscape painter. Claude successfully fulfriled this duty in some of his best pictures, but he was rather conined in his effects, and often monotonous in his subjects. He, however, executed nu nerous pictures; and though all of these are In this representation of the passage, the not equally excellent, yet the greater part of artist has not strictly adhered to the literal text: them are replete with fascinating beauty, and for St. Mathew says, when they came into important truth. G. Poussin also evinced the house," &c. but here is neither inside nor much taste in composition and grandeur of outside of a dwelling Such a violation of forms in his pictures; but Tiziano and N. the subject is particularly reprehensible; for Poussin displayed sull greater merits, and more the primary merit of historical painting, as commanding effects. These great artists in well as historical writing, is truth and a viewing nature, derived from her features faithful and accurate display of this should be more dignified and exalted conceptions. They strictly adhered to by the painter as well as generalized her forms, and gave to her unauthor. It is but a weak excuse for the for-sophisticated countenance, the commanding mer, to plead the want of picturesque effect, and a desire to give more interest and variety to his subject, by indulging in the pictoria licentia; for nothing can compensate for the want of truth in historical pictures. Sir Joshua has strenuously urged this in his admirable discourses; and, with the discrimination of a judicious critic, has defined and characterised the specific province of this high department of art. The present worthy President of the English Royal Academy, touches and hues of grandeur, vigour, and richness. In general, though not always, they chose fine forms, and gave them that autumnal tone of colour, which is so grateful and pleasing to the eye. These artists were blessed with that species of knowledge which always manifests a predilection for such shapes and colours as are calculated to produce the best pictures. Gaspar Poussin ivas ge nerally attentive to the former, but no. 50 successful in the latter: wilence, though is Jandscapes are mostly very fire and grand, they are often cold and heavy. Salvator Rosa has shewn great excellencies in this department of the art and in the present collection, No. 41, is a picture by bin, which will rank among the finest productions of the kind. Our own country presents every component part of landscape; and in its mountains, fakes, woods, rocks, and seas, unfolds all that can be wished for or demanded by the artist. A few of our native painters have emulously availed themselves of these features, and have carefully studied their forms and colours. Actuated, however, by different feelings and partialities, they have sought different paths to renown and whilst one has been satisfied with painting a few trees hanging over a sedgy pool, with two or three cows; another has boldly and vigourously dared to imitate the turbulent waves of the ocean, when driven by the enraged storm. He has also manifested the superlative powers of the pencil, in representing the effects of a meri dian sun, the union of that luminary with the moon in the same picture; also the rising and setting sun, with other difficult and fascinating effects. In the present summer, Lon.lon has been favoured with Two Exit tions of Drawings among which there were many landscapes and topographical views of unequivocal excellence. This will be readily admitted by those persons who have carefully examined the productions of Glover, Havel, Nicholson, Smith, J. Varley, Heaphy, Delamotte, Cristal, and of some other artists. From these extracts our readers will estimate the science displayed by the writer. To the indisposition that he pleads in his preface, we impute certain negligences in his style, which occasionally impair his sentiments. We indulge in the addition of a few remarks on other subjects. "The cadaverous body of the recently crucified Saviour,”though introduced by Ludovico Carrache, No. 11. is an erroneous conception. No body so lately deprived of life, not by disease, assumes those hues which the painter has given to this subject: with equal inattention in the actor, we sometimes see on the stage, a body, killed but a moment before, carried off stiff: the expression intended is not in nature. "The marriage of St. Catherine to the infant Jesus" is misunderstood by Mr. B All nuns are -considered as being married to the Saviour, by their vows: hence the self-dedication of St. Catherine, her dream of espousals by a ring, &c. though a fanciful and superstitious idea, yet loses of its absurdity: and the metaphor does not necessarily imply "a deranged intellect." We no not wonder that a writer who treates a saint of the fair sex with so little tenderness, should indulge still harsher language when describing the extatic St Francis as an "unconfined maniac (No: 64.) In treating the subject of" Josepli and his mistress," (No. 29.) Mr. B. introduces an extract from a letter written by the celebrated Addison, on a like occasion. It should have been inserted entire ! but as Mr. B.'s work is likely to be read by young artists, whose profession exposes them, (even to a proverb) to the dangers of a too intimate acquaintance with beatty, we could have wished that Mr. B. had selected his instance of chastity from as mong the sons of art. He might have found such an one on consulting Granger, in Brown the miniature painter, who, being a very handsome man, had unhappily inspired a lady of rank and beauty with a passion too impetuous for controul; yet neither the unusual advantage to which her charms were purposely heightened, when she sat to him for her portrait, nor even the last effort of despair, in the adjustment of a garter, could subdue the artist's self controul; and he finally banded the enchantress to her carriage, with a . triumph with only virtue can conceive of impart. Had this occurred to Mr B.'s recollection (for he knows the story) Joseph Addison would not have "been the most eminent instance he had heard of in England." To an infant Jesus sleeping on. the cross, Guido has added “ rather injudiciously," says Mr. B. the crown, of thorns and nails: but in our opinion these are no more irrelevant to the infant figure than the cross itself: for they, too, are among the instruments of the Saviour's passion. On occasion of “the Soothsayers, or Augurs" by Salvator Rosa, Mr. B. has given a list, with explanations, of the different kinds of augury: he should have added the keen remark of Cicero, that ⠀ he wondered how any two of them could fall into company together, without laughing at the science of which they made a profession." When describing the duplicates of the "seven sacraments" of Poussin, now the property of the Duke of Rutland, Mr. B. should have added to his other commendations of that nobleman að a patron of art, his liberal exposure of these pictures, at the Royal Academy, dating arr Exhibition: and this the rather, because we suspect that this condescensión broke the ice for further favours to the public in permissive gratifications. At his theolo-, gical phraseology, in explaining those pictures and elsewhere, Mr. B will excuse a smile; he is a critic, not a'divine. We must, however, be permitted to wonder that no artist, to our knowledge, has availed himself of the truly awful, magnificent, and even picturesque idea, in the story of Moses striking the rock at Horeb," of the Deity "standing on the rock before him," as promised, Exod. xvii. 6. notwithstanding Mr. B. thinks this omission "judicious." No. 108. R. Wilson. A landscape with figures, called Niobe. Why "called" Niobe, Mr. B.? Have you any suspicion that the story is not that of Niobe? We insert Mr. B.'s remarks, as they do honour to the munificence of the present time. 108. R. Wilson. A landscape, with figures, called Niobe. The composition and effect of this grand picture, must be very generally known to every lover of the arts, both at home and abroad; for the admirable print of it, by Woollet, who perpetuated his own talents with those of the painter, has been widely circulated, and universally ad'mired. To sirow the comparative state of the present and past age, with respect to arts and their patrons, we need adduce no other evidence than what is contained in the works of Wilson and Turner. Both these artists evinced eminent talents in landscape; and the pictures of each are now fairly appreciated and valued but when the former lived, he could not obtain a livelihood by his pencil, and was obliged to solicit the place of Librarian to the Royal Academy. The latter not only paints many pictures, but sells them all, or nearly all, at high prices. Whilst the former found it difficult to get 50 or 100 guineas for such a picture as the Niobe, the latter readily obtains a sale for paintings, of the same size, at 200 guineas each. Let those artists, who are constantly murmuring at the want of patronage, endeavour to produce pictures of equal merit, and they will not be at a loss to find purchasers for them. If the opulent class of Englishmen have appeared to neglect their native artists, the latter have shown a corresponding sentiment of contempt. This is certainly wrong; for if one derives a pleasure and honour from encouraging ability, and possessing meritorious worke, the other should endeavour to supply and gratify the demand, and at the same time prove himself fully entitled to liberal and permanent patronage. Here we must close our remarks: yet we cannot forego an expression of our dissent from Mr. Repton, who supposes, VOL. IV. [Lit. Pan. Sept. 1808] 4 Tour in France. 1802. 8vo. pp. 91. Price 3s. 6d. Booth, London, 1808. This is, apparently, the production of a lady, who quitted England, with En-. glish ideas in her mind, and a strong sense of the "domestic comforts" of her native land. She observes, that the French language has no term which fully conveys the meaning of this English expression; and she might have observed, that the language is not to blame in this; for why. should it comprise an expression for the use of a people, to denote an enjoyment. of which they are totally ignorant? The sex of the author precluded her from information on the enormities of that profligacy which pervades Paris, and its environs. She saw, indeed, the baths of madame Buonaparté-now, the empress Josephine, and the paragon of virtue !-but the sliding pictures that amuse the bather, were not shewn to her: this must be tak en as an honourable tribute to the national delicacy of an English lady! We might say the same of occurrences at the Palais Royal, and the cabinets at the Petit Tri anon. This cause, too, may account for the absence of politics from the pamphlet, beyond such as occurred to the observation, of the writer: we are disposed, therefore,, to place the greater confidence in her remarks; and we wish that it were in her power to furnish information, equally cor rect, on the time present. We do not recollect to have seen the pomposity of the chief of the French government, and of Madame, in their habitations and establishments, more amply described than by our traveller: and we avail ourselves of her details, to convey soue ideas on the subject: an irresistible bias, also, to exercise our Panoramic second siglit, 2 Q |