wife churu;

meltingness which produce on the eye the same delicious sensation that

ripe Roslin strawberries and cream produce on the palate.

No. 46. The Strawberry Girl;_the property of SAMUEL ROGERS, Esq.

Here are real, not figurative strawberries. They form, however, a very unimportant part of the picture; the charm of which lies in the delightfully naïve expression of the countenance and attitude.

No. 47. The Sleeping Girl; the property of SAMUEL ROGERS, Esq.

Really Mr. Rogers has had the combined good taste and good fortune to make himself the possessor works. Let the exclusive admirers of some of this great master's finest of ancient art have the goodness to instance any picture, with their most favourite name affixed to it (although

no barm;

Mislead night-wanderers; laughing at their harm;

Those that Hobgoblin call you, and sweet Puck,

You do their work, and they shall have good luck : Are not you he?"

No. 26. Miss Gwatkin; the property of E. LOVEL GWATKIN, Esq. -Simple and beautiful in composition; masterly and fascinating in execution.

No. 32. Girl Sketching; the property of HENRY ROGERS, Esq.Another proof of Sir Joshua's sensibility to female grace. Memory is one of the genuine painter's chief qualities. Sir Joshua Reynolds must not only have strongly felt, but distinctly remembered this transient elegance of position; or he could not so successfully have rendered it permanent on his canvas.

No. 33. The Duke of Hamilton; the property of WILLIAM BECKFORD, Esq.-It is not always that nobility of title and nobility of expression coincide. They do so completely in this youthful but elevated head."

No. 39. Laughing Girl; the property of the EARL of LONSDALE.— Art, ancient or modern, may be challenged to shew any thing superior to this head in the technical management of the colouring materials.

It has a honied richness and

cends this exquisite production, in force of effect, and depth and lusciousness of tone.

No. 48. Count Ugolino and his Family in prison; the property of the DUCHESS of DORSET.-We know that it is the fashion with some persons to call Sir Joshua's Ugolino a failure; but why, we are at a loss to conceive. To us it has always appeared that nothing more appalling was ever produced on canvas than the total abstraction of the unhappy old man, and his utter insensibility to the caresses and cries of his terrified and famishing children. The chiaro-scuro is also very powerful and well managed.

No. 50. Lesbia lamentiny the death of her favourite Bird; the property of Mrs. GwYN.-The sweetness, elegance, and delicacy of this charming picture are incapable of being surpassed. Every portrait painter ought to study it with the deepest attention. Carrying grace to its utmost extent, it stops short of that most hateful of all qualities-affectation.

No. 53. The Infant Academy; the property of VISCOUNT PALMERSTON, M.P.-Sir Joshua Reynolds, like all men of amiable feelings, was very fond of children; and was never more happy than when watching the youthful character and action, through all their rapid and amusing changes. The knowledge which he thus acquired, he converted to

great professional use, of which the present picture furnishes an admirable specimen. The assumed primness of the urchin who is sitting for a portrait, and the half-suppressed mirth of the little rogue of an artist are delightfully entertaining. The disposition of colour is extremely rich and harmonious. What a pity that parts of this invaluable picture are so sadly cracked! Surely something might be done to hide the defect. In a side-light it is very manifest, and very injurious.

No. 55. The Countess of Bute; the property of the MARQUESS of BUTE. The total absence of any appearance of intention in placing the figure in this fine whole-length portrait, which has all the firmness and truth of nature herself, is singularly pleasing. A friend of our's objects to the umbrella, as vulgar. But he ought to recollect that, at the time this picture was painted, umbrellas had been but recently intro'duced into this country; and that the use of them was confined to the superior classes of society. Had Sir

Joshua lived in the present day, he would perhaps have substituted a parasol; although even that little safe-guard of a lily-complexion has lost much of the gentility of its cha

racter.

While we are in this room, we may mention that the Governors of the British Institution, having recently purchased at Mr. Watson Taylor's sale, the magnificent picture of The Vision of St. Jerome, by PARMEGIANO, for which they gave the liberal price of 3,050 guineas, took the bold resolution of placing it in the midst of Sir Joshua's works. Their confidence that our distinguished countryman would not suffer in the comparison has proved to be well-founded. His pictures stand their ground admirably; and, indeed, many of them much resemble in tone this chef d'œuvre of the great Italian master.

We will reserve our remarks on the performances of the old schools, which fill the two other apartments of the Gallery, for our next number.

The annual Exhibition of the Society of Painters in Water-Colours, which we noticed in our last two numbers, having closed, the Society determined on opening their Room for a few weeks, with a selection of drawings by British artists, chiefly in the possession of a number of distinguished and opulent individuals, by whom they were lent for the purpose with a prompitude, which, as the Preface to the Catalogue observes, was highly gratifying to the artists, as evincing a warm interest in the advancement of their pursuit."

In making this selection, the Society have not confined themselves to works executed by their own members, but, with a very liberal feeling, and in order, as they themselves say, "to afford a fair and diversified view of the art which they cultivate," they have introduced the performances of several artists, who have never been connected with their institution. Principally and substantially, however, the present Exhibition consists of a

corps d'elite from the works, which have been annually submitted to the public during the first seventeen Exhibitions of the Society. It can scarcely be necessary to add, that they form a delightfully interesting assemblage. There is not one of the whole 213 on the merits of which we could not expatiate with great pleasure; but, as usual, we must satisfy ourselves with a few remarks on the most prominent and beautiful.

No. 2. Village of Clappersgate. R. HAVELL. The property of J. Vine, Esq. Among our eminent landscape draughtsmen, Mr. Havell is distinguished by the depth and solidity of his drawings. No artist better understands the true principles of massing. All that he does is upon a broad and general scale; and yet, without entering into any details with his pencil, his drawings when viewed at a little distance seem to possess all the minute varieties of nature. This drawing is a fine specimen of his power.

No. 3. Tomb of Louis Robsart,

Standard-bearer to Henry V., Westminster Abbey. F. NASH. The property of the Earl of Tankerville. A rich and mellow drawing. The management of the light is peculiarly happy. These venerable monuments are excellent subjects for the painter. What a scandalous thing it is that, constructed as they have been at the public expense, and to do honour to public men, the public are nevertheless excluded from seeing them, except upon the payment of a gross and unwarrantable exaction! Really, the press ought to make a vigorous and simultaneous effort to shame down this abuse, disgraceful in every respect, and in none more than in the unfavourable impression which it makes upon foreigners of English cupidity. No. 7. Rivaux Abbey, Yorkshire. W. WESTALL, A.R.A.-The property of J. Broderip, Esq. Clear and broad. The perspective is remarkably good.

No. 8. Evening.-G. BARRET. The property of J. Allnutt, Esq. Small but delicious. The sky is uncommonly beautiful.

No. 11 A North Country Fair. L. CLENNEL. The property of J. G. Lambton, Esq. M.P. Full of character; from the Highlander in the foreground, with his arm round the waist of a blushing lass, for whom he is about to purchase a ring offered to him by a female pedlar, through the jolly drinking groupe at the booth, to the tumblers, quacks, and merry-andrews in the distance. The hilarity and good-humour of the scene are just sufficiently contrasted by the pugilistic encounter of two urchins in a corner, and the fierce regard with which a couple of terriers eye each other in the foreground. Perhaps the general hue of the colouring approximates rather too closely to foxiness.

No. 15. Distant View of Goodrich Castle. COPLEY FIELDING.The property of the Artist. This is a very sunny and splendid drawing, and ought not to remain" the property of the Artist." Mr. Fielding always composes his trees in the nearer part of his picture with great skill, opposing light and feathery to deep and substantial foliage in a manner that gives to both additional value.

No. 16. A Thunder Storm. J. VARLEY.-The property of T. Griffith, Esq. There is much magnificence and variety in the composition of this drawing, and it has a very classical air.

No. 18. Coast Scene. T. GIRTIN. -The property of W. Leader, Esq. M.P. An extensive bird's-eye view, possessing all the truth and freshness by which this great artist's pencil was distinguised. The diversity of effect communicated to the several head-lands as they approach the eye, is singularly pleasing.

No. 19. Windsor Castle from Cranbourne Lodge. J. Glover.The property of T. Griffith, Esq. When we say that this is one of Mr. Glover's most beautiful drawings, we need add nothing in its praise. It is at once tender and forcible, glowing and chaste; and exhibits all the better peculiarities of Mr. Glover's style.

No. 22. Shepherd-Evening. J. CRISTALL.-The property of J. Elliott, Esq. With very simple materials, Mr. Cristall has here produced a highly interesting little drawing. While we contemplate it we are almost afraid that the swain, who is so attentively regarding the vast ocean spread out before him, will be tempted in the words of one of Dibdin's old songs :

"To leave his poor plough, and go

ploughing the deep."

No. 26. Evening. G. BARRET.The property of J. Vine, Esq. A rich Italian view. The distinction of the three lights, that of declining day, that of the rising moon, and that of the illuminated villa is well preserved. It is impossible not to envy the party in the gondola, who are so luxuriously enjoying the freshness of the evening air, and the "concord of sweet sounds."

No. 30. An Indiaman. S. PROUT. The property of J. Allnutt, Esq We have already (in a former Number of our Magazine) noticed the admirable aptitude of Mr. Prout's style for subjects of this description. If Michael Angelo had painted an Indiaman, he could not have imparted to it more grandeur.

No. 31. Near Lincoln. WINT. The property of

P. DECall,

Esq. The secession of Mr. Dewint from the Society some years ago was a severe loss to the Society, to the public, and, if we may be permitted to say so, to Mr. Dewint himself; for, unquestionably, the oppor tunity, which the Exhibitions of the Society afforded for the display of Mr. Dewint's talents, was evidently advantageous to him in his profession. We well recollect the warm and deserved admiration, which this fine drawing excited when it was originally exhibited. It represents merely a pond, a mill, and a distant field or two; but over these simple objects the genius of the artist has shed fascinating beauty.

No. 32. View of Bath from Spring Gardens. T. HEARNE.-The property of E. H. Locker, Esq. F.R.S. Judiciously introduced to shew the contrast between the old and the modern school of landscape-painting in water-colours. Hearne was an able artist; but the neat precision of his drawings, outlined with the pen and shaded with thin and monotonous washes of Indian ink, makes them look very meagre in the presence of the full, deep, richly coloured and broadly-executed works of the present day.

No. 34. Twilight. G. F. ROBSON. -The property of the Right Hon. R. Peel, M.P. Strikingly expressive of the solemnity of the hour which it is intended to represent. The unbroken gradation of the sky, from the deep blue of the summit of the ethereal vault to the remains of solar splendour in the horizon, is managed with insurpassable skill and dexterity.

No. 35. Coast of Sussex; pushing off a Boat to a Vessel in Distress. J. CRISTALL.-The property of the Duke of Argyle. One of the finest drawings of the English school. It seems to have lost somewhat of the vividness of its original colour (for we fancy that it must be about fifteen years since it was produced and exhibited at the rooms of the Society, then in Old Bond-street) but that is a trifle compared with the higher qualities of art, of which,

while it exists, it can never be divested. But its highest merit is, that it is an admirable representation of the courage and humanity of British sailors. In the face of an enormous surge, which threatens instantly to overwhelm them, half a dozen gallant fellows are undauntedly endeavouring to make their way to the aid of a vessel in the offing, that is firing signals of distress. On the beach, watching their progress, are two of their brave companions, in whose lineaments, however rude and hardy, the expression of an xious feeling is strikingly manifest. The details and the general effect of this magnificent drawing are equally deserving of commendation.

No. 38. Bethgellart Bridge. J. VARLEY.-The property of J. All nutt, Esq. A very pleasing drawing; and with greater gaiety and variety of colour than usually proceeds from Mr. Varley's palette.

No. 49. The Spoiled Dinner. J. HOLMES.-The property of the Mar quis of Hertford. A well-conceived and well-executed exhibition of what, although not a very pleasing, is, we fear, a very common occur rence in married life,-a "family jar." An under-done joint has excited the anger of the husband (a man apparently of the rank of a decent mechanic) who, pointing to the evidence of its rawness with his knife, regards his wife with a look of stern reproof. The latter seems to be sulkily meditating an excuse. Their child, a girl about ten years of age, dismayed at the countenance of her male parent, has sidled away from him, and, regardless of the balance of the table, has approached closely to her mother, as if for protection. A female servant, who has just entered with a foaming pot of porter, looks askance at the meat, with an evident consciousness that the fault is, in some degree, attributable to her. Nothing can be more distinctly told than the story; and all the accessories of the picture are well painted, and greatly contribute to the general eflect.

Portraits of celebrated Authors.Professor C. Muller, of Weimar, a celebrated German engraver, is finishing a very striking likeness of Jean Paul-Frederic Richter. His collection already contains the portraits of the most illustrions literati of Germany. Göethe, Wieland, Schiller, Herder, Klopstock, Lessing, Winckelmann, Kotzebue, Hufeland, are engraved with a great fidelity of resemblance. This collection is sold for forty-eight francs in Paris. M. Muller has also finished engravings to illustrate the tragedies of Schiller, the appearance of which the lovers of the Fine Arts on the Continent are eagerly expecting.

The School of Painting at Chambery, established on the 1st of May, 1822, by the Municipal Council under the authority of the Minister of the Interior, was opened on the 25th of last November, in one of the halls of the Hotel-de-Ville. The management of this establishment is confided to Professor Moreau. The pupils pay a small annual sum, but some are admitted gratuitously. There will be an annual exhibition of the works of the pupils, and at the closing of the exhibition, prices will be exhibited.

The Society of Emulation at Liege have opened a subscription to defray the expenses of a monument to be erected to the memory of the celebrated Gretry: it will contain his heart, at present deposited in the Hermitage of Montmorency, near Paris, where Gretry passed the last years of his life, and where Rousseau composed his celebrated work, La Nouvelle Heloise. The smallest contributions are received, and the names of the subscribers will be printed.

The inauguration of the statue, erected to the memory of Bayard, took glace on the 9th of June at Grenoble. All the civil and military authorities, a great number of persons of all descriptions, and elegantly dressed ladies, assisted at the ceremony. Two appropriate discourses were delivered by the pre

fect and the mayor. Public diversions, a supper and ball given by the prefect to which more than 600 persons were invited, fire-works, and a distribution of money to the poor, followed the ceremony of the inauguration. M. Raggi, the Parisian sculptor, who executed the statue, received 8,000 francs for it from the General Council of the department of Isere.

Mr. Martin, the celebrated painter of Belshazzar's Feast, &c. has commenced his engraving, on steel, of that work. The outline and perspective will be executed by himself, and it will be finished in mezzotinto by Mr. Lupton, so as to appear next spring. Mr. Martin has commenced his grand picture of Sardanapalus; or, the Fall of Nineveh, It will be 16 feet by 11 feet 8 inches, and will be finished next spring twelvemonths.

An engraving by Mr. J. G. Walker has recently been published from a painting by T. Stothard, Esq. R.A. representing the Annual Oration on St. Matthew's Day, in the Great Hall at Christ's Hospital. We are never more gratified than when we see the arts employed on subjects of national interest; and seconding the objects of the patriot and the moralist. Of the Foundation, which this engraving in part illustrates, it is a matter of surprise that no similar memorial has heretofore appeared. It has been reserved for Mr. Walker (himself, we understand, educated in Christ's Hospital) to shew at once his gratitude and his talents by this testimony of recognition and regard. The skill with which his burin has followed the pencil of Mr. Stothard, not only in the execution of the portraits, but in the reflected light of the interior, does him great credit; and we hope that both the local interest and the public tendency of the work will insure its success.

We understand that it is intended by the committee of the Liverpool Royal Institution to exhibit a selection of paintings-the works of the old masters, formed from the differ