ment. Instead of tuning in uni- || very indistinct, become by that son the three wires belonging to each key, two wires only are so tuned; and the third (throughout the whole range, excepting a few of the upper keys,) is tuned an octave higher. The effect of this is, that the sound is rendered more powerful in general, its vibration and consequent length of duration are greatly increased, and the tone is thereby rendered more singing. At the same time, the lowest notes in the bass, which in general are means more defined and agreeable. What may to some appear singular, this change in the mode of tuning is not to be discerned by the nicest ear, except by the peculiar general effects above noticed. The inventor, Mr. Kirkman, has taken a patent for this description of grand piano-fortes, the price of which, as may be supposed from the simplicity of the contrivance, differs little from that of the grand piano-fortes hitherto made. EXHIBITION OF THE BRITISH INSTITUTION. critic upon the Cartoons) has justly held them forth as great models of imitation, and as deservedly entitled to the station to which the concurrence of past ages assigned them. The other pictures in this collection consist of some of the best specimens of the Italian and Spanish schools, and are of varied, but in some instances of superlative excellence. THE directors of this valuable institution have, within the last month, presented the public with an EXHIBITION OF THE ITALIAN AND SPANISH SCHOOLS OF PAINTING, an exhibition that cannot fail to improve the growing (and now general) taste of the public in the arts, and which must also open fresh stores of information to the artist himself, and aid the cultivation and developement of his powers. This collection is graced by two of the The several manners of the ItaCartoons of Raphael from his Ma- lian schools may be said to comprejesty's gallery The Miraculous hend a union of the most compliDraught of Fishes, and Paul preach-cated and studied design with the ing at Athens. It would be a work not only of affectation, but supererogation, to repeat the praises, or revive the critical disquisitions, which have been bestowed upon these celebrated works. Those who have raised doubts on the propriety of some of their subordinate parts, have not withheld the tribute of their admiration from the majesty, the expression, and simple grandeur of the principal ones; and Mr. Fuseli (we believe the last most refined simplicity; the most sterile with the richest and most gorgeous tints; every excellence indeed that the arts demand in expression, drawing, light, and shadow, and all that can rank art high in point of skill and intellect. In them we can likewise perceive those seeds of corruption which afterwards degraded the art; that eager and voluptuous desire for colour, which misled numbers in its pursuit, and gave to those who had less pow rings and Hopes are known alike in er than Rubens, a sort of clumsy, shewy excellence, a glowing rich-arts and commerce; and the preness, unpardonable when bestowed sent picture (the finest perhaps in upon faults. And even Paul Ve- the gallery) is the property of Mr. ronese, with his lovely tone and Hamlet, a trader of high repute. brilliant effect, exemplifies the in- It bears the marks of having been feriority of this meretricious style, much rubbed, injured, and repairwhen compared with the produc- ed; yet what a splendid union of tions of a steadier and a more men- expression and colour! The drawtal acquisition. To judge of the ing is exquisite; a perfection that merit of mind over the striking, pervades the most subordinate parts, but transient gratification and plea- even to the flowers strewed on the sure we receive from colour alone, fore-ground, and which are exquilook, for example, at the contrast sitely finished, even when brought between the cartoon of Paul and into contact with the best pictures the pictures of Paul Veronese in of Claude. The face of Bacchus, the same room. The latter are defaced as it certainly is, has enough doubtless rich and luxuriant, but of soul left to shew what the artist. the mind is puzzled to comprehend executed. The young Satyr and the particular subjects they are calf's bead are exquisite, and the meant to represent: yet, without drapery and figures in shadow can any pretension to colour, though never have been excelled. possessing it as far as the material will admit, the cartoon relates every circumstance and explains itself at the instant it meets the spectator's eye, improving in depth and gran-purity of its execution. deur as he recedes in the distance. The works of Titian were the great models of his time. This artist combined more excellencies than any other painter of his age. The picture in this collection of Bacchus and Ariadne, from the Aldobrandini Palace, is a school of art itself. Before we touch (and we can only slightly do so) on its merits, we are anxious to express our gratification at finding the finest works in the British Institution in the hands of families who rank high in our own commercial and trading community. As the commerce of Venice and Italy revived the arts in Europe, so that of our own country seems calculated to cherish and sustain them. The Ba Bacchanalian Dance, by N. Poussin, which is also the property of Mr. Hamlet, is remarkable for the correctness of its drawing and the Besides the former work of Ti-tian, there are several others entitled to notice, particularly Christ Tempted, from the Orleans Collection. The female arm is exquisitely drawn and coloured, and the countenance of the Saviour has a truly divine expression. The Marriage of St. Catherine, Titian's Daughter with a Casket, and A Man drinking (the transparency of the glass in the last in particular), are productions that are of themselves calculated to sustain this artist's fame, even though opposed to his Europa in this collection, which was evidently painted at the close of Titian's century. The works of Raphael are numerous and splendid. The St. Ca therine, from the Aldobrandini Palace, The Virgin and Child, and St. John, from the Escurial, are the finest examples of grace and beauty that probably are extant. The grace and meekness of St. Catherine are wonderfully expressed. Leonardo da Vinci's works are also numerous and valuable. The Heads of the Apostles were merely intended as sketches for his larger works; they are therefore more remarkable for their strength and expression of character, than for any particular beauty of execution. His Christ disputing with the Doctors is particularly fine, for the beauty and interesting expression of the young Saviour's head, contrasted with the marked and varied character of his auditors. than the former, but are not perhaps so perfect in their drawing. Landscape, with a Procession and Sacrifice, from the Altieri Palace, and Landscape, with Historical Figures, by Claude, are exquisite paintings. The latter is now more generally preferred, though the former, we believe, has invariably borne a higher price, and been long considered the best landscape in the kingdom. The clear and finely subdued tints of the latter, the immeasurable distance in the perspective, and the pure and natural tone of colouring in all its parts, appeared to us quite unique. Many parts of the former appeared' heavy in the painting, perhaps from some of the thinner parts being wiped off in the course of time, and leaving a dark, heavy colour behind. The fore-ground, too, looks black: the tree is, however, very fine; and the farther temple, together with that part of the picture which surrounds it, is lovely, particularly the tasteful termina.. tion of the picture, and the light tree near that spot. This collection has also some fine specimens of the style of the Carracci, the founders of the eclectic school, who devoted themselves to the unattainable union of Angelo's design, Raphael's grace, Titian's colouring, and Corregio's effect. It is needless to say, that they not only failed, but exposed men of equal talents with them- The Shepherd's Offering, from the selves, such as Guido and Dome- Crozat Collection, by P. Veronese," nichino, who were their pupils, to is the best coloured and executed the bitter reflection of having wast-picture by this artist in the Exhied the labour of years in the fruit-bition: it is a fine specimen of his less pursuit, and, in the words of Sir Joshua Reynolds, "of having dissipated their natural faculties over the immense field of possible excellence." The Triumph of Galatea, fresco, by A. Carracci, is an admirable example of correct drawing. The Nativity, and Saint Francis, with the Angel, by L. Carracci, contain a greater union of powers silver tone. The treatment of the design does not correspond with the merit of the colouring. Landscape, Storm, with Dido and Eneas, from the Falconieri Palace, by G. Poussin; a very grand and poetical landscape, and superior to the works of N. Poussin in this gallery; although The Landscape and Figures (No. 88), by the latter, is finely executed. His Death of Tancred must likewise be || style, in which he delighted to re admired, for the spirit of its composition and the correctness of its drawing. The Triumph of David is also a good example of graceful attitude. Ecce Homo (No. 33), by Guido, is an exquisitely finished work, both in expression, attitude, and colour: the folds of the drapery | are soft and tasteful; the pearly shade of the colouring is finely attractive. His St. John preaching in the Wilderness is also a good picture, but it has not the soft and pathetic interest of the former. It wants dignity, and belongs more to what is called common nature. The Ecce Homo (No. 55), is the picture of which a curious story is related, demonstrating rather the mechanical execution of Guido than his Christian virtues. It was finished in two hours, to shew a travelling cardinal the facility with which the artist worked. The pious traveller exclaimed, how thankful the painter ought to be to God for endowing him with such rapid powers; to which the other replied, that he would have owed little to Providence on this head, had he not himself for years of early life worked sixteen hours a day. The cardinal hastened from the painter, and left him his picture. Salvator Rosa's landscapes partake of that wild and romantic present the works of Nature. There is great grandeur in his mode of arranging the large masses of light and shade which his pictures contain. A small whole-length Portrait in Armour, by Giorgione, is a beautiful picture: the subdued tone of the face is finely calculated to give effect to the brilliancy of the ar mour. Murillo's works are admirable, from the soft and mellow tone of their colouring, and the playful and interesting attitudes of his figures. His style of composition is equally simple and agreeable: there is such an even distribution of talent throughout his works, that one can hardly make a particular selection to exemplify his merits. If compelled, however, to this selection, we should say, that his Virgin and Child, with Angels, contained a complete specimen of his forcible and peculiar talent-of that union of simple and tender expression, and harmonious and varied colouring, for which he was more distinguished than any other Spanish artist. The present Exhibition is decidedly the finest that has been witnessed in the metropolis since the separation of the Orleans Collection. THE SELECTOR: Consisting of INTERESTING EXTRACTS from NEW POPULAR PUBLICATIONS. MANNERS OF THE MODERN GREEKS. From Dr. CLARKE's Travels, part II. section iii. WE were conducted to the house of a rich Greek merchant, of the name of Logotheti, the archon or chief of Lebadéa; a subject of the Grand Signior, since well known grill, upon the top of which there is a piece of soap. a piece of soap. An exhibition rather of a disgusting nature, however cleanly, then takes place: for having made a lather with the soap, they fill their mouths with this, and squirt it, mixed with saliva, into the bason. The ladies of the family also do the same; lathering their lips and teeth, and displaying their arms, during the operation of the washing, with studied attitudes and a great deal of affectation, as if taught to consider the moments of ablution as a time when they may appear to great advantage. Then the master of || the house takes his seat, his wife sitting by his side, at a circular tray; and stripping his arms quite bare, by turning back the sleeves of his tunic towards his shoulders, he serves out the soup and the meat. Only one dish is placed on the table at the same time. If it contains butcher's meat or poultry, he tears it into pieces with his fingers. During meals, the meat is always torn with the fingers. Knives and spoons are little used, and they are never changed. When meat or fish is brought in, the host squeezes a lemon over the dish. The room all this while is filled with girls belonging to the house, and other menial attendants, all appearing with naked feet; also with a mixed company of priests, physicians, and strangers visiting the family. All these are admitted upon the raised part of the floor, or diván: below are collected meaner dependents, long and coarse towel, very ill washed, about twelve inches wide, is spread around the table, in one entire piece, over the knees of the party seated. Wine is only placed before strangers; the rest of the company receive only a glass each of very bad wine with the dessert. Brandy is handed about before sitting down to table. All persons who partake of the meal wash their hands in the room, both before and after eating. A girl, with naked and dirty feet, enters the apart-peasants, old women, and slaves, ment, throwing to every one a napkin: she is followed by a second damsel, who goes to every guest, and kneeling before him on one knee, presents a pewter water-pot and a pewter bason covered by a who are allowed to sit there upon the floor, and to converse together. A certain nameless article of household furniture is also seen, making a conspicuous and revolting appearance, in the room where the |