its usual Complement of Men, during the Blockade of Cadiz, July 3d, 1797, attacking a Spanish Launch, with 30 Men, which, after a severe Conflict, he succeeded in carrying. On this occasion Capt. Freemantle nobly supported the Admiral; and his Coxswain, John Sykes, repeatedly saved his life. R. WESTALL, R. A.

223. Admiral Sir Horatio Nelson, in the act of landing on the Mole of Teneriffe, in July, 1797, dangerously wounded by a cannon-shot in his right arm, which was afterwards amputated. Upon this occasion his Life was saved by the attention and presence of mind of his Sonin-law, now Capt. Nisbet. Owing to the absence of this Gentleman his Portrait is left unfinished.

R. WESTALL, R. A. These four pictures, we understand, are intended to illustrate a life of the immortal Nelson. The subjects of all of them are admirably chosen, as they enable us to trace the progress of that enterprizing spirit, aud contempt of danger, which equally adorned the character of this great man in his youth, as in his last and most splendid triumph. It is difficult to speak in terms of sufficient praise of the manner in which they are executed; whether we regard the variety of the characters, the spirit of the composition, or the colouring and effect.

Our limits will not allow of criticisms of sufficient length, to describe works of so elaborate a nature: we shall therefore content ourselves with noticing the passages which most particularly interested us. The varied actions of the sailors, in the first picture, opposed to the calm dignity of the young hero, are deserving of great approbation; particularly, as it appears to us that this is a subject of peculiar difficulty.---The groupe of the dying commodore, in the second picture, and the expression of his countenance, are exquisite; so indeed is the mixture of triumph and concern visible in the figure and head of Nelson.

The third picture is full of action and of danger, and well describes that scene which Lord Nelson thought the most perilous of his life; the countenances and dresses of the Spaniards are strongly characteristic, and the confident expression in the faces of the English give an assurance of their victory, in spite of the smallness of their number. In the fourth picture the varied expression of grief in

the attendants forms a strong contrast to the calm suffering of the fallen chief. The third picture is, in our opinion, the best, but either of them will afford a proof of the rapid progress which the artist is making.

210. Portraits of Sir F. Baring; I. Baring, and

-Wall, Esqrs. T. LAWRENCE, R. A.---We consider this as the best work of this artist, and as far the best picture of portraits which the present exhibition can boast of. It has indeed an historical character, and the three figures form a most interesting groupe: they appear as merchants settling their accounts; all of them are excellent likenesses; that of Sir F. Baring is dignified beyond the usual character of the original, and is admirable; the head of Mr. Baring is, if possible, still better; the colouring and effect are vigorous and rich, and the whole work is deserving of the highest praise.

200. The Italian Pastoral. S. Woodforde, R. A. E. -This is a very elegant composition; the action of the figures is natural and easy, but the colouring rather crude.

207. The Road Side :---Peasants resting. W. Owen, R. A.---This picture is excellently coloured, and grouped in a very pleasing way; the female figure has too much the air of a town lady in a rustic dress, but the face is beautiful; and the picture will certainly add to the deserved reputation of the artist.

225. Mr. Dingwall. I. OPIE, R. A.---This is certainly the finest picture of this master in the exhibition; it is painted in a very bold and masterly stile.

226. The School-Boy. H. THOMPSON, R. A.---We do not think this a successful effort, except in the colouring, which is tender and harmonious; the boy has an affectation in the turn of his head, the neck is too long, and the left hand, the action of which is natural, is too large.

231. The Infant Bacchus, brought by Mercury to the Nymphs of Nysa. H. HOWARD, A.---A very beautiful groupe; but there is in it a want of keeping which makes it very difficult to ascertain the situation of the flying Mercury in all respects this picture is better than those which Mr. Howard exhibited last year, and deserves considerable approbation.

252. Joseph and Mary resting with our Saviour, after a Day's Journey, on the Road to Egypt. B. R. HAYDON.---This picture is not without a claim to praise. The general composition is correct, the drawing of the figures tolerably just, and the various parts studied with a diligent pencil. There is also an union and repose in the tone of the whole effect of colour, that is very pleasing; particularly as it coincides with the general idea of the subject. This picture is said to be the first historical attempt of a young artist; and, if so, we are glad to witness the care with which it appears to be executed. Fidelity of attention, and diligence of execution, are the best precursors of future excellence. What is called freedom of pencil is like Cicero's definition of Fame :-"The best is that which follows, not that which is followed."

293. Miss R. Boughton as Lavinia. J. SAXON.--The colouring of this portrait is excellent, and the attitude well conceived and graceful, and does infinite credit to the artist, who has only lately appeared before the public. We observed with pain that this, as well as the other works of Mr. Saxon, are placed in situations the most discouraging to the artist; but rising merit like his cannot be long obscured.

303. Cow-Boys. A. W. CALLCOTT, A.---The hues in this picture are natural and beautiful; it is a successful imitation of the manner of Cuype; but the shape and size of the picture would have admitted of the introduction of some objects of greater height and importance in the fore-ground.

318. Mr. Phillips. J. SAXON.---This we think the best portrait which Mr. Saxon has this year produced. Mr. Phillips being a public character, to whose liberal encouragement of literature the country is highly indebted, the observer cannot fail being struck with the fidelity of the likeness.

In the Council-room, Library, and Antique Academy, there are few productions of any particular merit, if we except the drawings of Mr. Edridge, some sketches by Mrs. C. Long, two pictures by Mr. I. R. Smith, (noticed in our last Number) some exquisite water-colour portraits, by Miss Emma Smith; a few theatrical likenesses by De Wilde, and an excellent view of the interior of Lord

Grosvenor's hall, ornamented with pictures and statues, the design of Mr. Porden. We ought also to observe, that in the council-room there is a very beautiful little picture (No. 427, Evening,) by Mr. Callcott.

Among the sculpture in the lower room Mr. Rossi's design of Lord Nelson, for Liverpool, is eminently superior.

We very much regret that it is not in our power, in a selection of this kind, particularly to advert to the merits of each individual performance, but we trust we have not neglected any of the most prominent features of the Exhibition, and that our impartiality in bestowing ap plause, or administering censure, will not be doubted by any of our readers.

In No. VIII. of The Artist, is an ingenious paper from Mr. Thomas Hope, recommending as a part of general education, that youth should be early instructed in the first elements of drawing; and taught to trace the forms and proportions of the most finished of nature's productions, the human frame. This, Mr. Hope conceives, is the only means of diffusing a just taste throughout the country, and carrying our arts and manufactures to the necessary perfection. No. IX. contains an excellent essay from the pen of Mr. Northcote, in which he successfully combats the received opinion, that painting is the follower of, and dependent on poetry: No. X. Remarks on Criticism, Virtù, and the Rewards of Authors and Painters, by Mr. Cumberland: No. XI. On the supposed Influence of Fashion on our opinions of Beauty; with Remarks on the introductory Chapter of Mr. Knight's "Inquiry into the Principles of Taste." This paper is furnished by Mr. Hoppuer; and is followed by a letter, containing an account of the origin of design, illustrated by a beautiful oriental narrative. In No. XII. will appear some cursory strictures on modern art, and particularly sculpture, in England, previous to the establishment of the Royal Academy.

Our intended continuation of the memoir of the late Mr. Opie, is deferred, on account of the length of our remarks on the Exhibition.

REVIEW OF BOOKS.

PROBATQUE CULPATQUE.

Novellettes. By Augustus Von Kotzebue. In Three Volumes, 12mo. 15s. Phillips. London, 1807.

These Novellettes are in the stile of all Kotzebue's other works. There is much to praise, and much to censure. He delights and disgusts almost in the same page; and we are afraid that these little stories, though the intention may be very moral, are more likely to mislead the head, and to corrupt the heart, than to produce any salutary effect.

The tales now published bear the following titles: 1. The Grave on the Hill. 2. Shun even the Appearance of Vice. 3. The Guardian Angel. 4. The Revenge. 5. The Pigeon. 6. The Enthusiast. 7. The Vicar's Daughter. 8. The Little Lie. 9. Schad, a Benedictine Monk. 10. Insolent Arrogance. 11. The unhappy Husband's Complaint. 12. The Maid of Orleans, as Wife and Mother. 13. The Mysterious Cavern.

The Grave on the Hill possesses no merit as a work of fancy. It is neither interesting nor natural, and we almost despise the heroine, who longs to detect her husband in an act of infidelity that she might forgive him, and, by this shew of generosity, recover his affections. The second story is still more insipid. In the Guardian Angel the author exhibits himself to more advantage. His descriptions are glowing, the incidents bold, and, though too romantic for belief, the narrative lays a strong hold of the feelings. The Revenge is extravagant, and has no recommendation to atone for its absurdity. A rich man is rejected by a young lady because he is not a nobleman. He hires a poor friend, a shoe-maker's son, to pass himself off for a man of rank, and supplies him with money to carry on the cheat more effectually. This honourable character, however, falls really in love, and,