96. Design of a grand national monument commemorative of the illustrious Washington.-William Strickland. In this design the artist has displayed much taste, as well as a correct knowledge of architecture. He has also displayed a complete acquaintance with the rules of perspective; and the effect of the whole is excellent. The time is perhaps not very distant when the views of the architect will be realized. Those departed heroes who have fought and fallen in defence of our independence, deserve to have their fame handed down to the latest posterity, by monuments worthy of the glorious actions they have achieved.

Portrait of Mrs. Madison, modelled in colour—G. M. Miller. The artist is entitled to much praise; the likeness is correct, and executed in a very pleasing manner. Mr. Miller has exhibited on the present occasion, a great variety of specimens of modelling, which have very justly attracted the notice of the admirers of a very difficult and very important branch of the fine arts.

119. Blind Fiddler.-J. L. Krimmell. This beautiful little picture is a copy from an English print, engraved by Burnet, from an original picture of the same size, by the celebrated Wilkie. Although the design, composition and effect of this picture are not the productions of our young artist, yet we must give him great credit for his beautiful and harmonious colouring, and for the masterly manner in which he has preserved the character of the original. It is impossible for us to pass over this copy without noticing the extraordinary merits of the original. The subject is one of those that daily occur in the simple walks of common life; it is delineated with truth and elegance, and exhibits without affectation, the comforts and happiness of domestic life-the scene is the inside of a cottage-the blind fiddler is represented seated and beating time to his music, and his whole soul appears fixed on the subject. His family, consisting of a wife and two children, appear but little affected by the variety of his sounds. The boy warming himself at the fire seems to feel more from the effects of cold than the music-the family of the house, old and young, are sensibly affected with the scene, and visible expression of pleasure is on the countenances of all; even the dog turns his ear towards the fiddler and seems pleased with the harmony of sounds. The mistress of the house is seated

near the centre of the floor, with an infant on her knee that appears electrified, and springing towards its father, who stands opposite with his arms extended in the act of snapping his thumbs and fingers, and his attention seems equally divided between the infant and the music-two little girls stand before their mother with their eyes riveted on the musical guest—a boy about ten years of age, unobserved by any but the servant maid, is busily employed with a pair of bellows and a stick in imitation of the fiddler, and a rude drawing stuck on the door behind him, shows that he has a genius for the imitative artsa fine old man who forms the centre of this admirable group appears to be a grandfather in the family, is standing with his back to the fire, sedately viewing with fixed marks of gratification the pleasing scene before him. The appearance of cleanliness and comfort are here fully displayed. The various implements of industry combine to form this exquisite production of art; and the head of a clergyman and a bible on the mantlepiece, is a proof that the painter conceived that religion was essential to human happiness. Mr. Wilkie may be considered the founder of a new school of painting-he appears to have copied nature very closely, without her deformities: he has given all the character and finish of Teniers without his vulgarities. His pictures are equally interesting to the learned and ignorant -they are faithful, chaste, and dignified representations of nature, conveying at the same time pleasure and instruction.,

Mr. Wilkie is a native of Scotland, is only thirty-five years of age, and according to the best information we can collect, he has never been in France or Italy. He has acquired a knowledge of his profession by his own exertions alone. We have been thus particular relative to this artist, because we believe his school of painting is well fitted for our republican manners and habits, and more likely than any other to be appreciated at present. Instead of mounting on the wings of imagination and ascending into the regions of fancy, our artists may exercise their talents to more advantage by representing real objects. There is a simplicity about this charming and refined production of Wilkie, which entitles him, in our opinion, to hold that rank as a painter which Goldsmith holds as a poet and an author.

120. Quilting Frolic.-J. L. Krimmell. This is an original and very excellent picture, and was no doubt intended as a companion to his copy of Wilkie's blind fiddler. Throughout the whole of this charming and very interesting subject we can perceive strong marks of the genius of the painter. The composition, drawing, colouring and effect, display much knowledge of the true principles of art: the style is evidently his own. Mr. Krimmell is a pupil in the school of Nature, and he has already given sufficient proofs that he has not studied in vain. His figures are graceful, easy, and well drawn. On first viewing this picture we were inclined to believe that the objects were rather crowded; but on mature consideration, we changed our opinion. The subject represents a sort of entertainment, or sea-party and dance, given at the close of what is called a quilting frolic. It is very natural to suppose that a small room would not only be full, but crowded, and that every thing wanted on the occasion would be in requisition-the tea-cups, &c. are placed on a small tray close together (evidently for the want of a larger.) The bustle throughout this entertaining scene is very visible, and managed by the artist with great dexterity. The subject is good and executed with great judgment, and if Mr. Krimmell only perseveres in the path he has chosen, we are decidedly of opinion that his labours and talents will contribute largely towards giving a character to the arts in our own country.

123. Engagement between the privateer schooner Comet, captain Boyle, of Baltimore, and a Portuguese sloop of war and three English vessels under her convoy.-James Peale, junior. This picture is painted with great spirit, and certainly does. much credit to the young artist. The story is well told: the objects easy and natural. The effect produced by the fire and smoke, blended with moonlight, is extremely beautiful, and is to us a proof that the painter is no common observer of nature.

ANTIQUE SALOON.

We regret that the close of the exhibition would not permit us to go into a detail of the numerous and very excellent productions exhibited in this room. There are two beautiful busts in marble by Ceracchi. Several excellent models by Rush. A

number of masterly drawings in colours by the late Mr. Beck. M. Baralett has exhibited a drawing in a new style. It repre. sents the inside view of Oliver Evans's foundery, and appears to be done with a kind of black chalk, and has a fine effect Mr. Wood has displayed much talent in a number of portraits in water colours; and Mr. Miller has also shown much knowledge in a great variety of models. There are two beautiful drawings, in Indian-ink, by Kearney, representing the engage. ments between the Wasp and Frolic and Hornet and Peacock, executed with more freedom and taste than any pictures on the same subject that we have seen. Among the number of ex cellent productions that fill this room, we cannot pass over a beautiful painting on velvet by Mrs. Jones-we sincerely hope that the labours of this female artist will be duly appreciated by the American fair.

M.

CRITICISM.-FOR THE PORT FOLIO.

CUM TABULIS ANIMUM CENSORIS SUMET HONESTI.-Hor.

Junius; including letters by the same writer, under other signatures (now first collected.) To which are added, his confidential correspondence with Mr. Wilkes, and his private letters addressed to Mr. H. S. Woodfall: with a preliminary essay, notes, fac-similes, &c. 2 vols. 8vo. Bradford and Inskeep, Philadelphia.

THE author of these letters has had the good fortune reserved to but few prophets of witnessing the accomplishment of his own predictions. When in a moment of triumph he foretold, about forty years ago, that the "Bible and Junius would be read when the commentaries of the Jesuits were forgotten," his most sanguine hopes could scarcely have anticipated the fact, that on this side of the Atlantic there is scarcely a single work in the higher branches of literature more generally known and read than the Letters of Junius. Yet generally circulated and admired as they are, the ordinary editions of Junius's letters are in the

VOL. II.

highest degree unsatisfactory. They begin and end abruptly; they contain no good account of the state of politics which preceded the appearance of Junius; the mode in which he first announced himself to the public, and the extent and nature of his popularity; no explanation of many allusions to obscure persons, to obsolete topics, or local information: in short, the luminous path of Junius was surrounded not merely by the factitious darkness which he himself created, but by a thousand shades which were every day thickening over his course. All these inconveniences have been remedied by the present edition, which is unquestionably the best in every respect which has hitherto appeared, and which, though something is still left to desire, contains a great deal of very curious and interesting matter.

The publisher of the work is understood to be the son of Mr. H. S. Woodfall, the proprietor of the Daily Advertiser, in which the letters of Junius originally appeared, who must necessarily have possessed much information with regard to his distinguished correspondent, besides having many of his private letters. The edition is therefore from the purest source: it consists of a preliminary essay on the character and authorship of the letters; a collection of private letters from Junius to Woodfall, and the private correspondence between Junius and Wilkes. Then follow the letters of Junius, and a collection of miscellaneous letters from the same pen under different signatures. The great and universal circulation of these letters would render any remarks from us on the character of Junius, or his peculiar style, perfectly superfluous; and we shall therefore render this notice much more profitable to our readers, by presenting to them, in a condensed form, the most valuable matter contained under each of the above heads.

The first appearance and the progress of Junius, with the termination of his labours, is thus described in the preliminary essay.

It was on the 28th of April, in the year 1767, that the late Mr. H. S. Woodfall, received, amidst other letters from a great number of correspondents for the use of the Public Advertiser of which he was the proprietor, the first public address of this celebrated writer. He had not then assumed