Chaucer (s). Next, mounted upon an ambling nag, approaches the Wife of Bath (1), heading a groupe of four figures:-she is represented in brisk conversation with the Monk (u), and the Friar (e); behind them are the Pardoner (w), dressed in blue, and his friend

(r) A gentil Manciple was ther of a temple,

(8)

Of which achatours [caterers] mighten take ensemple
For to ben wise in bying of vitaiile.

-What man art thou? quod he: [the Host]
Thou lokest as thou woldest find an hare,
For ever upon the ground I see thee stare.

Prologue to Sire Thopas.

(t) Hire hosen weren of fine scarlet rede,

Ful streite yteyed, and shoon ful moist and newe.
Bold was hire face, and fayre and rede of hew.
Upon an ambler esily she sat,

Up

Ywimpled wel, and on hire hede an hat,

As brode as is a bokeler, or a targe.

A fote mantel about hire hippes large,

And on hire fete a pair of sporres sharpe.

(u) I saw his sleves purfiled [worked at the edge] at the hond
With gris, [fur] and that the finest of the lond.
And for to fasten his hood under his chinne,
He hadde of gold ywrought a curious pinne:
A love-knotte in the greter ende ther was.
His hed was balled, and shone as any glas,
And eke his face, as it hadde ben anoint.
He was a lord ful fat and in good point.
His eyen stepe, and rolling in his hed,
That stemed as a forneis of a led.
His bootes souple, his hors in gret estat,
Now certainly he was a fayre prelat.
His palfrey was as broune as is a bery.

(v) of double worsted was his semicope, short cloak] That round was as a belle out of the presse.

(w) This Pardoner had here as yelwe as wax,
But smoth it heng, as doth a strike of flax :
By unces heng his lokkes that he hadde,
And therwith he his shulders overspradde.
Ful thinne it lay, by culpons [shreds] on and on,
But hode for jolite, ne wered he non,
For it was trussed up in his wallet.
Him thought he rode al of the newe get,

the Sompnour (x), in white. The last groupe of this motley cavalcade, is composed of the Goldsmith, the Weaver, the Dyer, and the Tapestry Merchant (y), all Citizens of London, attended by their Cook (z); with these jolly pilgrims the procession closes.

We have quoted the characters below (with some abridgement) as they are delineated by Chaucer, as affording the means by which the best judgment of Mr. Stothard's merit may be formed. It is hardly too much praise to say that the Poet and the Painter stand almost on equal ground. We cannot sufficiently admire the accuracy with which Chaucer's description is exhibited to the eye, and the congenial spirit with which the features and distinctions of each individual character are preserved amid the several groupings and combinations which, to form one striking picture of the whole, it was the artist's most difficult, but most successful labour to compose. The horses are

Dishevele, sauf his cappe, he rode all bare.
Swiche glaring eyen hadde he as an hare.

A vernicle [a miniature of our Saviour] hadde he sewed upon
his cappe.

His wallet lay beforne him in his lappe,

Bret-ful of pardon come from Rome al hote.
A vois he hadde, as smale as hath a gote.
No berd hadde he, ne never non shulde have,
As smothe it was as it were newe shave;

I trowe he were a gelding or a mare.

(x) That hadde a fire-red cherubiunes face.

With scalled [scurfy] browes blake, and pilled [bald] berd :
Of his visage children were sore aferd.

A gerlond hadde he sette upon his hede,
As gret as it were for an alestake:

A bokeler hadde he made him of a cake.

(y) An HABERDASHER, and a CARPENTER, A WEBBE, a DEYER, and a TAPISER, Were alle yclothed in o livere,

Of a solempne and grete fraternite.

Ful freshe and newe hir gere ypiked [spruce] was.
Hir knives were ychaped not with bras,

But all with silver, wrought ful clene and wel,

Hir girdeles and hir pouches every del.

(2) A COKE they hadden with hem for the nones,
To boile the chikenes and the marie bones,

And poudre marchant, tart and galingale [sweet cypress].
Wel coude he knowe a draught of London ale.

thirty in number. Chaucer particularizes only a few. Mr. Stothard has contrived to discriminate those of all the Pilgrims according to "th' estat, th' araie" and circumstances of their riders. The Miller's Horse is as much in character as the Miller himself.

The dresses have been adopted with the nicest fidelity from the best authorities; from the British Museum, and other public depositories of rare MSS; from inonumental remains; from the authority of Chaucer himself; and from ancient illuminated manuscripts, painted in his time. The portrait of Chaucer is painted from that in the British Museum, done by Thomas Occleve, who was his scholar.

This admirable performance was suggested by a private person who knew the peculiar qualification of the artist for this subject, and who is now the proprie tor of the picture. So feebly do the rich and the noble patronize the ingenious HISTORICAL PAINTERS of this country.

The picture has a merit also beyond its excellence as a work of art. It will probably excite the public towards a perusal, and instil into their minds a relish, of the works of Chaucer, who is known only by name to many who pique themselves" and that highly" on their acquaintance with the English Poets.

FOREIGN MASTERS.

Mr. Christie commenced the Sale of Pictures for the season on the 7th February with a very choice and valuable collection of the Italian, French, Fiemish, and Dutch Schools, in the highest preservation. The leading picture of the collection was by RUBENS, viz.

The Return of Peace to the City of Antwerp. The latter is allegorically represented as a beautiful female embraced by Pallas, who has put sedition under her feet; in the distance a storm dispersing with young genii above. This picture is one of Rubens' happiest efforts, and replete with spirit and elegance, and must be considered as a chef d'œuvre of his powers in colouring. It was sold for 950 guineas.

* Mr. Cromek, at whose house, No. 64, Newman Street, the Picture is to be seen, with Tickets.

C. DU JARDIN.- -A Cavalier watering his Horse at a Brook, during a halt from the chace; a youth with a brace of hounds a goat attacked by a dog; and sheep brousing. Of all the small pictures in the same line, this bore away the palm; the distance a mountainous morning scene, remarkably clear and brilliant, and in the best preservation. (250 guineas.)

RUYSDAEL. -View of a river flowing through a hilly broken landscape; a groupe of figures in the foreground which are painted by Vernet of the French School. A sober, chaste, and grand performance. The water and the reflection of a fortress in it on the opposite hill, are equal to any attempt ever made in the art; a fine tone of colouring pervades the whole. (240 guineas.)

SCHALKEN. -Le Concert de Famille. A picture well known among the Cognoscenti, which has been engraved by Wille. (230 guineas.)

MURILLO. -The Flagellation. An upright picture of a most charming tone of colouring, finely drawn, with exquisite sensibility in the countenance of the persecuted saint; the figure in the act of tormenting, an admirable contrast to the sufferer; it is certainly in the grandest manner of this master (115 guineas.)

G. VASARI―The Descent from the Cross, a picture that would do credit to the easel of Parmegiano. (17 guineas)

ADRIAN OSTADE.-/ -An Interior, with boors, drinking and listening to a man with a hurdy-gurdy, aad a boy playing on the fiddle; if this picture is not the very best performance of the master, it will ever rank as among the foremost of his works; the whole very spirited, and painted with great warmth. (105 guineas.) A. CUYP.- -A Cattle Piece. Cows on the brink of a pond, peasants and children watching them; the time represented is a warm evening, the glow diffused over the whole picture is happily managed, and the animals are finely drawn. (80 guineas.)

DE HEUSCH.A Mountainous Landscape on the borders of a lake, with figures by Polemberg; a vast deal of freedom is shewn in the handling, the foliage loose and spirited, the figures truly classical. (80 guineas)

NETCHER,- A Morning Conversazione, a cavalier playing on the guitar, and a lady holding fruit to a dog dancing. The finishing of the draperies in the finest style of the master; this picture is well known, and has a print engraved from it. (39 guineas) GUERCINO.- -Samson and Dalilah, an elegant composition, and possesses all the knowledge of this master, the effect bold, strong, and natural. (120 guineas)

BACKHUYSEN.- A Brisk Gale. While viewing this picture the spectator may almost imagine he feels the sharpness of the breeze; it is certainly a first rate picture of the master; the delicacy of pencilling, and clearness throughout the whole, cannot be surpassed. (80 guineas)

DOMINICHINO.- Diana and Calista, a cabinet picture (135

guineas)

DE HOOGE.- -Two pictures in this collection. First, The Mistress of a Family descending a winding staircase and overhearing the intrigue of her domestics in a cellar; no master has combined the force of chiaro scuro, with the richness of De Hooge; this picture is esteemed one of his best productions. (80 guineas) Second, Cradle Scene. (35 guineas)

ADRIAN OSTADE.An Exterior, with Boors smoaking; a small cabinet picture. (30 guineas)

INTELLIGENCE.

Mr. Prince Hoare published on the 14th of March, the first number of a work to be continued weekly, under the Title of the ARTIST, to consist of a Series of Essays on Science and Art, written by men of eminent professional abilities, on topics relative to thir respective studies, and by other persons peculiarly conv ·rsant with those subjects. In this number Mr. Hoare developes his plan. It is the design of The Artist to seek professional information on the subject of the liberal arts in the most distinguished sources of his country, and to present their recondite stores in a familiar garb to his readers. With these offerings he proposes to connect accounts of the modern improvements in science, and such observations on them as experience and equally appropriate study can best supply.

We announce this publication with the greatest pleasure. Authentic information on the points to be discussed is much wanted; and it would be difficult to find any where, an editor so perfectly competent to this useful undertaking as the ingenious and indefatigable Secretary for Foreign Correspondence to the Royal Academy. The second number will contain Essays on Originality in Painting; on Imitators; and Collectors.

The ROYAL ACADEMY will receive the performances of artists and honorary exhibitors on the 3d and 4th of April only. The Rooms will be opened early in May.

The SOCIETY of ARTISTS exhibiting Water-coloured Drawings, have announced a further Exhibition.

The BRITISH INSTITUTION, has also re-opened its Gallery. Of the leading Pictures in this and in the British Gallery, we shall hereafter give some account.

FOOLS AND JESTERS.

FOOLS by profession, or (as they have sometimes been called) jesters, were formerly of great account. Cardinal Wolsey, in 1529, presented his to Henry VIII. as a token of grateful and affectionate regard; as did, Sir Thomas More his, upon resigning the seals in 1532, to the Lord Mayor of London and his successors in office *.

* Herbert's Hist. of Henry.—Angeli was a fool of this sort in France. He had been a follower of the great Condé, and was given by him to the king; yet was far from wanting wit. He was once some time in company, before he began to play the fool: when, M. de Bautru (who was the wit of the court) entering, "I am glad,'

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