culty of pourtraying intellectual expression, and dignity of demeanour, whenever they appeared in his subjects; and, in fact, he often approached in his portraits to the elevation of historical painting. His facility and happiness of execution were admirable, and extended themselves to every part of the canvas. Heads, hands, and draperies, were equally well designed and freely executed. But, as indiscriminate praise is little better than censure, we hope it will not be considered derogatory from Sir Henry Raeburn's fair fame, if we allude to a slight defect, to which indeed we felt ourselves compelled in justice to advert in our remarks on the last Exhibition. It has been suggested to us, by a gentleman for whose taste we have great respect, that Sir Henry was gradually getting the better of this defect complained of in his works, and that in the last Exhibition they evinced more harmony of colour, more scientific display, and a better arrangement of the whole than in any former year; thus holding out a hope that, had it pleased God to prolong his life, he would soon have left us nothing to wish for. From that opinion we are, upon reflection, by no means disposed strongly to dissent. We trust that our suggestion as to the benefits of the opportunity of comparison which the Exhibitions afford will not be mistaken. Far are we from wishing that our painters should resemble one another. One of the great characteristics of the British school, and by which it is most advantageously contra-distinguished from that of France, is the variety of our styles; a circumstance which we may, perhaps, be supposed fanciful in ascribing, in a great measure, to that boldness, and independence of national character resulting from the free and liberal institutions of our country. But still there are some principles which ought to be common to all artists. We do not wish to hear different musical performers playing the same piece; but we certainly desire that all their in

struments should be perfectly in tune. The analogy will hold good with respect to a painters palette. Sir Henry Raeburn, it must be confessed, allowed the black and green occasionally to predominate unpleasingly.

It is said of Sir Henry Raeburn, by one who had the pleasure of knowing him, that his modesty was equal to his merit; that in his intercourse with the young candidate for public favour in his own art, he was uniformly kind, communicative and liberal; that on all occasions he had the candour to bestow just praise on rival excellence; that in society few men were more acceptable, pos sessed as he was of a cheerful disposition, much good sense, and an inexhaustible store of anecdote; that no man could dispense or receive a greater degree of happiness; and, above all, that those who had opportunities of seeing him in the midst of his family, will ever cherish the recollection of his amiable and endearing qualities.

The Royal Academy, in testimony of their high estimation of Sir Henry Raeburn's talents, elected him, first an associate, and afterwards an Academician, without solicitation. The first honour he received on the 2d of November, 1812; the second on the 10th of February, 1815. When His Majesty on his visit to Edinburgh conferred the honour of knighthood on this distinguished artist, we do not recollect an occasion of that nature on which a more universal feeling of satisfaction was expressed. Sir Henry was also a member of the Royal Society of Edinburgh, a member of the late Imperial Academy at Florence, and a member of the Academy of New York; and a few days before his death he received a commission, appointing him Portrait Painter in Scotland to His Majesty.

Sir Henry Raeburn's practice was, it is reported, worth about three thousand a year. We understand that, since his decease, a very general wish has been expressed among persons of rank, fortune, taste, and influence in Scotland, that Mr. Phillips, the Royal Academician, would remove from London to Edinburgh;

and we have been told that he and his amiable lady have lately paid a visit to the northern metropolis, for the purpose of ascertaining how far a residence there might promise to be agreeable and advantageous. We should certainly regret the loss of so bright a star in the constellation

of English genius; but we can have no doubt that Mr. Phillips's professional excellence would be liberally rewarded, and that his general information, manly character, and sound sense, would be properly appreciated in Edinburgh.

The Fourth Part of Mr. Rhodes's Peak Scenery, or Excursions in Derbyshire, (the conclusive one) has just appeared, with the same descriptive quality, and most pleasantly mixed, as before, with anecdote, kindly-breathing sentiment, and amusing local statements; and some of the scenes beautifully brought into the reader's visible presence by the pencil and graver, the former in the hands of Mr. Hofland, Mr. Blore, Mr. Thompson, but most of them in those of the celebrated Sculptor, Chantrey, and the latter in the admirable hand of Mr. G. Cooke. If Mr. Rhodes does not surprise the fancy with any new or animated touches in his portraiture of objects, or in his appeal to our feelings, he agreeably renews whatever kindred scenes, thoughts, and sensibilities, had been implanted there. We travel with him, in fine, through and about the nobly-various scenery of the Peak of Derbyshire, as with a sensible, discerning, warm-hearted, and not unimaginative describer and companion.

We have heard that it is the intention of Mr. Howard, R.A. that the picture of the Solar System, which attracted so much notice in the last Exhibition of the Royal Academy, shall be his last in the historical line. We cannot but deplore the cause, whatever it may be, that puts an end to the exertion of talents so rarely excelled in the historical line, and deprives the Annual Exhibition of some of its principal attractions. It is imagined that it is the more lucrative employment of portrait painting that engrosses his time.

Royal Hibernian Academy.—It affords us great satisfaction to announce, that the Charter to incorporate the Irish Artists, under the title of The Royal Hibernian

Academy," has passed the Great Seal of Ireland. In communicating this distinguished mark of Royal favour, conferred on the professors of Painting, Sculpture, and Architecture in Ireland, we confidently hope, that, under the influence of Government, a School of Arts may now be formed there, which will, ere long, redound to the honour of the country.

The exhibition of paintings at the Subscription-rooms, in the City of Exeter, has been very attractive. Great admiration has been excited by the picture of Christ crowned with Thorns, painted by Mr. King, (an artist of distinguished talent, now residing in that City) for the new church at Teignmouth.

Girtin's admirers tolerated a defect in his drawings, which proves how much allowance the liberal connoisseur will make for the sake of genius. The paper which he most admired was only to be had of a stationer at Charing-cross: this was cartridge, with slight wiremarks, and folded like foolscap or post. It commonly happened, that the part which had been folded, when put on the stretching-frame, would sink into spots in a line, entirely across the centre of the sky, so that where the crease had been, the colour was so many degrees of a darker blue than the general tone of the sky. This unsightly accident was not only overlooked, but, in some instances really admired, from its having been taken for a sign of originality, and in the transfer of his drawings from one collector to another, bore a premium, according to that mark.

Proposed School of Arts in Lyons. In a late number of the Constitutionnel, it is strongly recommended that the Government should establish in most of the large provincial

towns, schools for teaching the sciences to artizans and mechanics. The author very properly observes, that Paris has many advantages over other towns; that all the scientific men of the kingdom crowd to it, and leave the great mass of the people destitute of knowledge and of proper teachers. He proposes, therefore, that the very first men of France, in respect of science, shall be tempted by some corresponding advantages to forsake the seductions of the capital, and devote their time to instructing the obscure artizans of the country. France is not, however, even at this moment, quite destitute of such schools, and the Government is too deeply engaged in schemes for re-establishing despotism and supersition to leave any hope that it will engage in so good a work as the spreading of accurate knowledge. But for this circumstance we are quite sure no Frenchman would ever have thought of appealing to the people to act on such a recommendation, independent of the Government. The author of this project, however, having evidently visited Scotland, and become acquainted with the Andersonian Institution at Glasgow, and seeing, in point of distance from the capital, and the nature of the manufactures carried on there, a similarity be tween it and Lyons, he boldly calls on the inhabitants of the latter city to imitate the example set by the former, and establish a School of Arts for themselves at their own expense. The people of Glasgow may well be proud at having their conduct held up in this manner to the imitation of the French, by one of their own writers; and it must be cheering to them thus to see their admirable example of establishing schools for the instruction of Mechanics, made known to foreign nations, leading, we would fain hope, to the establishing similar schools throughout civilized Europe.

The inhabitants of Paris have lately been gratified with an Exhibition, consisting of works of art sent from Rome by the students of the French Academy in that city. Architectural designs, sculpture, historical and landscape painting, and engraving, have all contributed to form this Exhibition;

among the paintings there are an Eresichthon and an Arion, by M. Coutan, which are fine specimens of colour, but are faulty in the drawing. M. Cour has a picture of the Deluge, which some critics say possesses every thing such a subject should possess, except colouring, design, truth, and expression. The most striking piece in the collection, is a landscape by M. Remond. It is very large, and the subject is a view of Rome, from the hills beyond the Tiher. In front is Cincin natus, at the moment when the messengers from the Senate are bringing him the ensigns of the consular dignity. He is represented at his plough, to which are attached two fine bulls; and the whole scene is finely depicted. The best piece of sculpture is an Eurydice, by M. Nanteuil. The architectual pieces consist principally of restorations of Roman edifices, some of which are well designed.

A curious experiment, promising some success, has lately been making at Paris. It is an attempt to preserve the large paintings of the most esteemed artists, by the employment of plates of pottery. The different parts of a large picture are united by a composition, and so coloured as completely to disguise the joinings. The artists engaged in this experiment, hope by these means to produce works as durable as Mosaic, but of much easier execution, and at a very moderate price.

Exhibition at Ghent.-Among the most striking pieces in this Exhibition, we may reckon the Toilette of Psyche, by Paelinck. The design is well conceived, and the general execution entitled to high praise. A Young Lady, her Nurse, and a Peasant, by M. Du-Bois, and various portraits of persons of distinc tion, by Kitson, are also worthy of commendation. Naver has contributed a variety of pieces, of which the Fortune Teller is the best. Boy Drawing, by Vanderbaer, is a very expressive picture; and the Game of Chess is remarkable for the fine display of triumph in the countenance of the fortunate player, and the indication of disappointment in the looks of his competitor.

A

Choix des poèsies originales des Troubadours.

Selection from the original poetry of the Troubadours: By M. Raynouard.

THE poetry of the Troubadours forms a distinct period in the literature of the middle ages, and is connected with the history of the twelfth and thirteenth centuries so little known. Written in a language chiefly derived from the Latin, and which seemed to have become, in its turn, the mother tongue of the different idioms of the South of Europe, the remaining documents of this species of poetry must be equally interesting to the learned of Italy, Spain, Portugal, and France.

The language of romance still exists, in spite of the revolutions occasioned by time, in several parts of these kingdoms. Many of the Troubadours were born there, and it is not unlikely that their poetical compositions had great influence upon the literature of their different countries. Yet, notwithstanding this literary and philological importance, the Troubadours were only known by vague tradition, transmitted from generation to generation, and dignified by the enlogiums of Dante and Petrarch. Learned men have, it is true, endeavoured to penetrate into this fertile field; but their unfinished labours and want of perseverance produced nothing of consequence, and all the essays published up to this time have given but a very imperfect idea of the celebrated poets who gave such brilliancy to the middle ages. The work we now announce will fill up this great void in the

literary history of Europe; and we know not which astonished us most, the order and method; the enlightened philosophy and criticism; or the immense difficulties M. Raynouard has so happily conquered. Invincible patience and indefatigable activity were absolutely necessary to restore every form, rule, and word of a language which had been for four centuries buried in manuscripts, most of which are mutilated, all incorrect, and many of the characters nearly effaced. There are frequent abbreviations, words mixed together, want of punctuation, disorder of orthography, and a thousand other difficulties. Such is the task M. Raynouard has undertaken to execute, and he is worthy of the assistance of that distinguished French' academician, M. Pelissier, who so eloquently revenged the memory of the Knights of the Temple, rescued from injurious oblivion the renown of the Troubadours, and raised to the glory of those fathers of ancient literature, a lasting monument which may serve as a guide to all who desire to study the annals, manners, and literary history of the middle ages.

Beginning with the origin of the romantic idiom, and giving a hasty sketch of the decline and alteration of the Latin tongue, M. Raynouard follows those successive gradations which form materials for a new language.

By the aid of these scattered fragments, which the learned academician discovered and gathered together, he has, in a manner, recomposed the language, established and developed the principles, the characteristic forms, and in a word, the

whole grammatical system, of which he finds the principal elements in the other languages of the South of Europe formed from this common origin.

This subject is included in the fourth volume of the collection, and is of an importance which will be felt by all learned philologists, with respect to the etymology and general theory of modern languages.

The author evinces profound sagacity in his comparison of all the idioms of Latin Europe with the grammar of the Troubadours, and every one must be struck with the analogy and conformity resulting from identity of origin, which the secretary of the French Academy, has established, not only by natural relations and numerous connections, but by a multitude of facts supported by examples selected from the ancient authors of the different idioms; the only proofs that can carry conviction in the discussion of philological problems, and which will receive new developments and more evidence in the four volumes still remaining to be published, containing the lexicon of the language of romance, the last and most important part of this magnificent work. Our readers will easily perceive the impossibility of giving a succinct analysis of this immense work, all the parts of which are arranged with such method that the whole must be read to appreciate its precision and merit.

We must then confine ourselves to some reflexions upon the importance of the poetry of the Troubadours, in reviewing the national remembrances, manners, customs, and opinions of that interesting period, when it flourished in the different countries of which it promoted the civilization. The violent commotions which followed the dismemberment of the vast empire of Charlemagne, occasioned the barbarity of the tenth century, which, in spite of the apology of Leibnitz, must always be regarded as the iron age. The following age produced some studies, but science was then reduced to vain disputes on words. The ambition of the great, who were only intent on arrogating to themselves new rights; the clergy so far

masters of the government, as even to dare to sit in judgment on their sovereigns; the Court of Rome setting a scandalous example of licentiousness; the Popes carrying into the humble chair of the apostle, the spirit of domination with all the prejudices of the cloister, are the principal features of the 11th century.

The excesses of the sovereign pontiffs, the violent struggle between the clergy and the empire, gave a strong impulse to every mind, already excited by the brilliant heroism and enthusiasm of chivalry, and still more increased by that religious fever which produced the crusades, and precipitated warlike and barbarous Europe into peaceful and flourishing Asia.

It was in the midst of these sanguinary conflicts that the Troubadours appeared. Their compositions in the history of letters form a class in manner, thoughts, form, and expression, perfectly distinct from the classical literature of the ancients. Without masters or models, these courteous and warlike poets celebrated, by turns, beauty and valour; and, travelling from castles to courts, were every where wel comed and honoured, charming their illustrious hosts by romantic songs and brilliant recitals; receiving at once the favours and rewards which kings, lords, and ladies vied with each other in bestowing.

The poetry of the Troubadours is divided into two principal kinds : one was intended to be sung, and the other had no music to accompany it, such as the satires, epistles, tales, and romances. Amongst their lyric poetry, songs are particularly distinguished. It was in this species of poetry particularly that the Troubadours created a new literature. Ignorant of the ingenious allegories of antiquity, they made love a quick-sighted but submissive god, and placed all their hope, happiness, and delight, in sentiment, respect, and the most absolute devotion. Always animated by that amiable courtesy of which these poets were the models, each of them attached himself to one court; where he made choice of a lady, who formed the subject of his eulogy; it was for her that his practical