Christ's Demand of Attention and Understanding, illustrated by a Sermon preached Nov. 26, 1809, to a Congregration of Protestant Dissenters at York. By William Turner is. Four Discourses on Subjects relating to the Amusement of the Stage. Preached at Cambridge, Sept. 25, and Oct. 2, 1808. By James Plumptree, B.D. 8vo. 7s. Sermons on various Subjects, selected and improved from Archbishop Tillotson's Works. By the Rev. R. R. Balderstone, Curate of Wencle, Cheshire. 8vo. 9s. Fresh Cautions to the Public, or a Letter to the Rev. Edward Pearson, D.D. in reply to his Cautions to the Readers of Mr. Simeon's Sermon, entitled, Evangelical and Pharisaic Righteousness compared. From the Rev. C. Simeon, M.A. 1s. Thoughts on the Sufferings of Christ. By the Author of the Refuge. 28. TOPOGRAPHY. A Topographical Account of the Parish of Scampton, in the county of Lincoln. By the Rev. Cayley Illingworth, A.M. F.R.S. 4to. 11. 11s. 64. Blomfield's Topographical History of the County of Norfolk. 11 vols. royal 8vo. 91. 18s. large paper 231. 4s. Tunbridge Wells and its Neighbourhood illustrated by 43 Etchings and Historical Descriptions. By Paul Amsinck, esq. imperial 4to. 41. 14s. 6d. VOYAGES AND TRAVELS. Travels through the Empire of Morocco. By John Buffa, M.D. 8vo. 7s. MONTHLY RETROSPECT OF THE FINE ARTS. The Use of all New Prints, and Communication of Articles of Intelligence, &c. are requested under COVER to the Care of the Publisher. The Fine Arts of the English School; illustrated by a series of bigbly-finished Engravings, from Paintings, Sculpture, and Architecture, by the most eminent English Artists; with Historical, Descriptive, and Biographical Letter Press. Edited by John Britton, F.S.A. London, printed for Longman, Hurst, Rees, and Orme, Paternoster-row; J. Taylor, High Holborn; and W. Bond, 87, Neromanstreet; by C. Whittingham, Mall, Chiswick. T O illustrate the works of British artists, and to extend their fame through the medium of engravings, is a laudable and highly important object. It is now too late, and British art too firmly seated in the temple of fame, to need the "twice-told tale," of a refutation of calumnies against her, so decidedly false, as scarcely ever to have deserved serious attention. The British School of Arts, particularly of painting, is certainly now the first in existence; and its works claim the attention of the most eminent connoisseurs, and rival those of antiquity. Barry and Fuseli hold a most distinguished rank in the school of Michaelangiolo: and the series of pictures on human culture, in the great room at the Society of Arts, m the Adelphi, of the former; and the Miltonic gallery of the latter; are proofs of the assertion. The best colourists of the Venetian school, are boldly followed by Reynolds, Hoppner, Shee, Beechey, Phillips, Owen, &c. &c. and the vigo rous imagination and purity of design of Raffaelle, are more than ained at by the illustrious president of our Royal Aca demy, in his Regulus, Hannibal, Coriolanus, Paul in the island of Malta, and other numerous productions of his weariless pencil, and imagination. What modern schools can equal Flaxman, Bacon, Banks, and many other British sculptors? How many are the buildings that surpass what Whitehall Palace ought to have been; what Sir Christopher Wren was prevented from making St. Paul's; and what the Bank,Somerset Place, the façade of Covent Garden Theatre, and the innumerable fine palaces of our nobility and gentry, scattered over the king dom, are, compared with their crowds of inferiors? The basilica of St. Peter, at Rome, may surpass St. Paul's, in size, and Santa Maria da Fiore, in the beautiful outline of its outer dome; but can the vaunted Pantheon at Paris, any way without insult be compared to it? Where in ancient or modern art, is the peristyle surrounding the dome of St. Paul's to be equalled? It would be a work of supere. rogation to say more, and an act of injus tice to say less. The work now under examination is the first number of a new publication, the intention of which is amply detailed in the quoted title. Its contents are specimens of English portraiture, historical paint ing, sculpture, and architecture. 1. A portrait of John Dunning, Lord Ashburton, engraved by William Bond, from a picture by Sir Joshua Reynolds. 2. Thetis bearing the armour to Achilles, engraved by the same artist, from a pic ture by Benjamin West, P.R.A. 3. A view view of an alto rilievo, from Flaxman, R.A. representing the passage from the Lord's Prayer, "deliver us from evil," also engraved by Bond. 4. A geome trical elevation of the west front of St. Paul's Cathedral Church, London, Sir Christopher Wren, drawn from actual admeasurement by James Elines, architect; and engraved by J. Le Keux. 5. A plan of the substructure of the same building, also drawn by Elmes, and engraved by Roffe. Of the portrait it is sufficient to say, that it is worthy of the pencil of Rey. nolds, and is faithfully and elegantly engraved in a judicious mixture of the fine and stipple. Of the historical subject much cannot be said in our limited space: therefore to the picture itself, (which must be remembered in the exhibition about two seasons ago, and is the property of, and was painted for, Mr. Thomas Hope,) and to the engraving, our readers are referred. Three personages compose the scene of this grand picture; Thetis, Achilles, and the dead body of Patroclus: Achilles is eated by the couch of his murdered friend, whose arm he is covering with his right hand, while his left supports his head. He is just roused from his grief by his goddess-mother, who is descending with immortal armour made for him, at her request, by Vulcan; his air bespeaks the hero breathing revenge against the author of his wrongs. Thetis has her left hand on his shoulder, pacifying her son, and directing his attention to the arms, worthy of the hero, "and fit to grace a god." A reference to the divine poem of Homer, not only for the immediate passage of the picture, but for the poetical characters of the pictorial personages, would prove, be yond possibility of contradiction, the truth of character, grandeur of expression, and the profound knowledge of the passions, that pervade this picture. The heads of Thetis, of Achilles, and such part of Patroclus as is seen, are perfect examples of expression. The whole figure of Achilles is academically drawn, and is in itself a model. The bust and arm of Thetis are beautiful, and highly descriptive of the grace of the daughter of Nereus. The colouring possesses both suavity and truth; the lights are brilliant, and the shadows transparent; the arms and drapery are well disposed, and unite in perfect harmony of tone. It has no useless accessories, not one but what the story re quires. The casque, formed, as Homer describes, to the contour of the hero's face, and embossed with sculptures, the shining cuirass, the sword and belt, are antique, and purely G.ccian. The painter has judiciously introduced the celebrated shield, so exactly described by Homer; in the centre he has shown the sun, the easin, the Pleiades, and the Hyades; the princi,,al compartment which is not concealed by the figure, or parts of the arms, is the representation of an Hymencal ceremony; and near to it is part of a pleasant vale, with flocks in repose. In short, the more this classical picture is studied, the more its beauties and merits are discovered. The engraving also, a mixture of the line and stipple, is delicate, and elaborately finished. The alto-rilievo, by Flaxman, is a chaste and sculpturesque composition. No other sculptor knows so well as Flaxman how far sculpture should go. He never represents perspective distance, and foreshortening; ponderous clouds, and bulky rays of sun-shine. This example is but a part of a monument to the Baring family; it will therefore be best to leave analysing it more at large, till the complete work comes before the public eye. The indefatigable engraver, Bond, has also executed this in a high degree of excellence. 5 and 6. St. Paul's Church, as a building, has been so often criticised, and we are become so well acquainted with its beauties, that it requires but little comment here. The drawing ap pears to be correct; and as it is drawn from actual measurement by a profes sional man, it may be supposed to be exact in its dimensions, and scientifically correct in its parts. The engraving in the line manner, by Le Keux, is clear, and brilliant; and the architectural parts well made out. The same cliaracter, (as far as the work goes) also belongs to the plan of the substructure, also drawn by Emes, and engraved by Roffe. Six Prints, illustrative of the Lay of the last Minstrel, a Poem by Walter Scott, esq. These prints are taken from the most prominent passages in Mr. Scott's beau tiful poem of the Lay of the Last Min strel; and are lively personifications, by a poetical painter, from an interesting and attractive work. The The subjects are taken from the fol- Portrait of the Marchioness of Stafford, engralowing passages : ved by C. Turner, from a picture by J. Phillips, R.A. Page 28, canto 1, stanza 18: She raised her stately head, And her heart throbbed high with pride. Page 46, canto 2, stanza 5: Page 164, canto 5, stanza 25: Page 206, canto 6, stanza 30: The composition of the six pictures is excellently managed, the story is clearly told and well made out, the figures are exquisitely and tastefully grouped, the costume is correct and well managed, and all in a high style of excellence. The engravings by Mr. Charles Heath, in the line manner, are high and creditable specimens of his abilities: they excel most of his cotemporaries' for correctness of drawing, fidelity of representing the painter, depth, delicacy, and variety of colour; and that correct distinction of substances, that so highly distinguishes the engravers of the English school. Mr. Heath has proved, by these and other works that shall be noticed in some succeeding numbers, and are now before the public, his just claims to the title of a line-engraver of the first talents; and a worthy inheritor of the great talents of his father, who has long stood in the first rank in art. This graphic illustration of a favorite poet, is not only a great acquisition to bind with the work; but, from its high intrinsic merit, a valuable addition to the portfolio of the most fastidious collector. The picture from which this portrait is engraved, was a prominent feature in the exhibition before last; and it is not saying too much in favor of it, to assert that the engraving (in mezzotinto) is a faithful copy, and in a clear and brilliant style of scraping. INTELLIGENCE. Royal Academy.-Mr. Fuseli is reelected professor of painting, in room of Mr. Tresham, resigned. Mr. Fuseli held this appointment prior to Mr. Opie, but on the death of Mr. Wilson, he vacated the professorship, that he might succeed Mr. W. as keeper of the academy; and by his re-election, he now holds both situations. Mr. Soane continued his lectures with the same unabated zeal as his former, (vide last month's Magazine) and with the same liberal elucidations of them, by valuable drawings, at the rate of above sixty each night. But owing to some unaccountable fatuity that has attended the architectural department of the academy for some years past, the students are suddenly deprived of his instructions, which are the first they have received since the death of Mr. Thomas Sandby, in 1793% The following fact deserves some attention:-Mr. Lonsdale the portrait painter, is employed by the Marquis of Douglas to paint for him portraits of their Majesties, in lieu of those taken by the Dutch in coming from St. Petersburg. He therefore applied a few days since, to the president and council, for permission to copy those done by Sir Joshua Reynolds, in their possession; who have refused him leave! The Marquis therefore must employ an academician, or be satisfied with Mr. L.'s copies from other pictures; but Mr. Londsdale means to apply to his majesty, and know whether the academy is an exclusive monopoly, or intended for the benefit of the public at large, and of the fine arts" They manage these things better in France."Sterne. PROCEEDINGS PROCEEDINGS OF LEARNED SOCIETIES. NATIONAL INSTITUTE. Report on the Progress of the Fine Arts, from the Epoch of the French Revolution, (1789) to the Year 1808, made by a Commission of the Institute of France, by order of the Emperor Napoleon. IS Majesty being in council, a deHputation from the class of the Fine Arts of the Institute, was presented by the Minister of the Home Department, and admitted to the bar of the Council. The deputation was composed of M. M. Bervic, president; Vincent, vice-president; I. Lebreton, perpetual secretary; Vien, a senator; Moitte, Heurtier, Gossec, Jeuffroy, Grandmesnil, Visconti, Dufourny, Peyre, and Chaudet. After a speech from the president, the following report was read by the se cretary: SIRE, The view which we submit to your Majesty, having for its object not only to describe what the arts have pro duced within the last twenty years, but, also to point out what may influence their prosperity, we have thought that, in order the better to second the generous intentions of your imperial decree, it would be proper to trace farther back the causes which have contributed to their prosperity, or their decline, in France. The sciences connect their labours, and the truths deduced from them, with incontestable principles: we are obliged to appeal to examples, in order to establish rules, and to convince. May we then be permitted to consult for a moment our ancient annals? At the epoch of 1789, the fine arts had completed in France their entire revolution. Brilliant with youth, strength, and grace, under Francis I. who naturalized them, and under Henry II. who, without loving them as much as his father, equally protected them, the arts still threw a lustre on the only noble passion of Catharine de Medicis, her taste for magnificence. Thus, in less than a century, were raised and embel lished the palaces of the Louvre, the Thuilleries, Fontainebleau, the Luxembourg, for royal residences; the castle of * Sitting of Saturday the 5th of March. 3 Ecouen, perhaps more perfect, for the most famous of the Montmorencies; and Anet, which appeared to be the work of the Graces, for the woman who to the greatest loveliness, and the most charins, united the greatest dignity of character, Diana of Poitiers. . The horrors of the massacre of St. Bartholomew, and its fatal consequences, caused France to retrograde towards barbarism. Athens, Rome, Florence, might preserve the arts in the midst of political troubles, and even obtain beautiful monuments from them; but religious wars spare nothing that is liberal. When Androuet du Cerceau, one of the restorers of architecture, forced to quit his country or to abjure his mode of worship, preferred exile; when John Goujon was assassinated as a Huguenot, while working at those beautiful pieces of sculpture of which our school is so proud; France was no longer worthy of possessing the fine arts. We must pass to the age of Louis XIII. to witness their revival. Not that Henry IV. did not protect and support them: his natural inclinations, and his generous character, made him their friend. He assembled the ablest artists, and gave them apartments in the Louvre, where he often visited them: bot the misfortunes of all kinds which the civil war had left for him to repair, his plans of policy, and death, which cut him off in the midst of his glorious career, prevented him from giving a strong impulse to the arts. Richelieu encouraged them all: he seized the sacred fire which John Cousin had happily preserved during the dark reigns of Francis II. Charles IX. and Henry III. His vigorous administration impressed on the fine arts a more decided character, and greater perfection, than they had under Louis XIV. who, it is true, conferred on them greater magnificence. The cardinal de Richelieu prevailed on Le Poussin to quit Rome, in order to devote his talents to the reign which that minister wished also to render illustrious by the fine arts; and during a residence of two years, that great painter composed cartoons for tapestry, allegorical subjects for the decoration of the great gallery of the Louvre, frontispieces for the fine editions produced by the royal presses, recently recently established. Exceeding the ordinary dimensions of his works, he drew the only great pictures that are still extant by him t At the same time, Le Sueur painted the cloister of the Carthusians; Philip de Champagne executed his pictures and portraits, so natural and so full of truth; the Luxembourg was finished; the equestrian statue of Louis XIII, was erected. Warin struck the finest coins used by the moderns; while the gold and silver-smiths produced ex-, cellent models. Such was the influence of Richelieu on the arts at the commencement of the seventeenth century. But when he was no more, they began to decline: that profound knowledge of design, the taste, the grace, which characterised the time of Francis I. and Henry II. disappeared. If the Fine Arts had so greatly degenerated since the time of Louis XIV. it was not because their administration had experienced any apparently great alteration. In the state of degradation to which we have just seen them reduced, their organisation was very nearly the same as under Colbert: .they had always for their administrator the director-general of the king's buildings, (board of works;) and their masters had the titles of first painter, and first architect. It was absolutely necessary to conciliate these last, in order to obtain prizes in the schools' employment, or the title of Academician. In this artists succeeded by imitating their manner, and adopting their tastes, their aversions: or by not daring to attempt any thing beyond what they knew, and particularly by respecting their habits. Such was the common law by which all the arts, and their academies, were governed. It was that which at all times opposed every kind of progress; but which was most absolute with respect to the fine arts under the reign of Louis XV. The contrast which then existed between the sciences, philosophy, and literature, on the one hand, and the fine arts on the other, has something very singular in it; the former boldly attacked all their limits for the purpose of extending them, whilst the others continued under the most disgraceful servitude which they had ever submitted to; under the necessity of conforming to the maxims, and almost to the orders, of two or three artists, who could only form disciples of greater mediocrity than themselves.. But they were the distributors of employment and honorary titles; they MONTHLY MAG. No. 196. formed the standard of opinion, and of the favours of the prince: submission was compulsory. Accordingly we find in the arts, during the whole age, only one name worthy of being inscribed with those of Montesquieu, Button, J. J. Rousseau, and Voltaire: it is that of Vien, who put an end to that state of things. Let not the other nations of Europe avail themselves of that humiliation: no one of them could enter into competition, if, instead of considering the general causes of the prosperity or decline of the fine arts, we made a selection of their works, even since the regency. Amongst the painters, the Coypels, Restout, Carle-Vanloo; Boucher himself, whom nature had gifted with imagination, wit, and facility; the statuaries Bouchardon, Pigalle, G. Coustou, Falconet; would yet form a respectable list, which would admit of no rivalship, except in architecture; in which we should have to quote only three or four cdifices worthy of esteem, until the year 1752. * In 1789, painting flourished in the French school, because it possessed both M. Vien, and his principal pupils. The former is always the object of our veneration, and the latter execute great works, which show that their talents are still in their full vigour. We are indebted to them for a new generation of painters, in different branches, and in every one worthy of their masters. From their schools annually proceed the obtain the great young artists who prizes, and repair to the imperial school at Rome, to complete their instruc tion. Painting is therefore not only flourishing in France, but it never was more so. The same may be said of sculpture, with this difference, that the latter has yet formed only one generation since the art has been brought back to good taste, and the principles of the beautiful. The same statuaries who have thus restored it, continue to afford examples of success. But, as well as in painting, the first pupils enjoy a reputation established on beautiful works. Of all the arts, sculpture is that which has achieved the greatest conquest since 1789. It never appeared with more distinction during the whole cen The portico at the entrance of the ancient Palais Bourbon, (now the palace of the Legislative Body); the two buildings in the square of Louis XV. (the Place de la Concorde); the great theatre at Versailles; and the first court of the Palais Royal. X tury, |