1916.] Review and Register of the Fine Arts. ten by Lord Byron. The music by J. Nathan. 2s. 6d. We are happy to find that the rapid sale of these songs will induce Mr. Nathan to continue his exertions for the entertainment of the public. The beautiful simplicity of these airs, as well as the Hebrew Melodies, cannot fail of being duly ap appreciated where they are sufficiently known. [In answer to the communication of a correspondent in the last number of the New Monthly Magazine, signed A SUBSCRIBER, the Reviewer has to reply, that, having had the Battle of Rosbach long in his possession, he was fully aware of the plagiarism; but he maintains that it is a dry dull performance, 447 which Kotzwara, in his Battle of Prague, has very much improved upon: and God save the King is so well known in England, that he could not have attempted to deceive the public by passing it upon them as his own composition. How it got to Prague at all is rather surprising; as it is not probable, that either the Imperialists or the Prussians, after the battle, would have shouted, God save great George our King.-The Turkish music, of which Sterkel has taken only a small part, was probably composed by either of these illuminés, it having been a wellknown tune in Germany many years before.] REVIEW AND REGISTER OF THE FINE ARTS. "Non ego paucis Offendar maculis, quas aut incuria fudit The Antiquities of Athens measured and delineated by JAMES STUART, F.R.S. and F.A.S. and NICHOLAS REVETT, Painters and Architects.-Volume the fourth, folio.-J. Taylor, Holborn, 1816. ARTISTS, and the lovers of the Arts, have long been on the watch for the appearance of the fourth volume of Stuart's Athens. To the former parts of this invaluable work we owe much of the superiority of modern British taste; they opened the stores of Grecian art, and by shewing the pure and primitive style of design, banished the corruptions which had arisen in the latter ages of the Roman school; and to which English artists were compelled to have recourse as models of imitation. It was with great pleasure we found that Mr. Jo SEPH WOODS was selected to fill the office of editor to the remaining volume, and the manner in which he has discharged the multitudinous duties it involved, has fully justified our anticipations of his fitness both as a scholar and an artist. A posthumous publication not unfrequently tarnishes the fame it seeks to brighten; but here, fortunately both for the public and the memory of the authors, the hand of kindred taste has woven, from flowers which they themselves had culled, another wreath to decorate their tomb. The history of this publication is so curious, that we are tempted to give it to our readers: MR. WOODS, speaking on the subject says, " Only the first volume was published by the author; each succeeding one was ushered into the world by a different Editor: the first appeared in 1762; the second bears 1787 HORACE. on the title page, but was not published till after Stuart's death, which happened in February 1788, when the arrangements were completed by Mr. Newton; and in 1794, Mr. Revely appears as the editor of the third-after a further interval of 20 years, the papers put into my hands by Mr. Taylor, enable me to offer to the public the last and fourth volume." Not the least interesting part of this publication, is the prefixed memoirs of both the artists, and the journal kept during their travels; the latter, evincing the extreme difficulty as well as the danger of their undertaking. In one part of the life of Stuart the writer observes, that whilst Hogarth, in the beginning of the last century, was in an obscure corner of the town earning a scanty subsistence by engraving cyphers and arms upon plate," Stuart in another quarter equally obscure,supported a large family by ornamenting the most frivolous of all female toys, the fan! consoling himself, no doubt,with the hope that by perseverance he should finally raise himself to a situation better suited to his talents." Let the poor neglected artist, struggling against adverse fortune, read this with exultation; and though now doomed to design decorations for a tea-tray, or what is equally painful, to paint unmeaning portraits, remember that his predecessors in art were equally unfortunate, and that although now the great luminaries of their profession, they once, like him, had to endure the pangs of penury, and the supercilious frown" which patient merit of the unworthy takes." The antiquities given in this last volume are far less architectural than those in the formner: they are more adapted to 448 Exhibition of the Royal Academy: the studies of those who pursue the sister arts of painting and of sculpture. The basso-relievos of the Parthenon, comprising those in the well known collection of the Earl of Elgin, are beautifully given by Stothard, in a series of faithful and splendid etchings; and by Baxter, in outline engravings of equal merit, from drawings left either by Stuart, or Mr. Parrs. The classic reader will be delighted to see accurate delineations of the Castalian fountain, so often sung by poets, and a view of Parnassus, the mere name of which raises a thousand images, and recalls the interesting recollection of school-boy hours. It is, however, to be regretted, that the engravings of the view of Pola, and that of Mount Parnassus, have not been better executed; surely among British artists some might have been found to have done justice to these subjects, instead of the crude black and white style which is here given us; and we cannot help fearing that the price charged by the engraver, rather than his merits, was consulted on the occasion. The singular basso-relievo in the quarries of Paros, and the head and tailpieces of the chapters are elegant and useful studies. The arch of the Sergii, at Pola, is a tasteful building, and many of its details beautiful: and, in conclusion, we confidently recommend this volume, not only to the possessors of the preceding parts, but as a highly interesting and very useful publication to artists and amateurs. French Characteristic Costume; containing 18 Plates. Frontispiece and letter-press description. Drawn and engraved by R. B. PEAKE. Colnaghi and Co. Cockspur-street, 1816. This little work is a faithful and pleasing representation of the dress and manners of our volatile neighbours, and deserves attention from those about to visit France, or who wish to become acquainted with the peculiarities of the people. EXHIBITION OF THE ROYAL ACADEMY. The annual exhibition of the Royal Academy presents this year more than its accustomed display of portraits, and contains fewer attempts than are ordinarily shewn, in the highest walk of artHistorical Painting. The anathema of poor Barry against portrait painting still vibrates on the ear of all who heard him, and the exhibition of 1816, awakens the recollection of his sentiments with peculiar force. Multitudes of men, women, and children, are seen, emblazoned in gilded frames, seeking through the pros [June 1, titution of the pencil, a momentary notoriety to which they are not entitled, either by birth or attainments. No one can question the propriety of exhibiting the beloved lineaments of our future queen, or the semblance of that warrior, who, amid the combination of princes, has placed England so high in prece dence; but why should the shopkeeper seek to display in an exhibition of art, a representation of the upper half of his own body, the exact portion which may be daily seen surmounting his counter or his desk? or why should the fop be allowed to expose to the public, the beloved features which he contemplates with s much satisfaction in his dressing-glass? The traces of departed worth may not improperly be found in the circle it has left, nor the resemblance of a beloved friend be misplaced in the sitting-room; but it is unseemly and presumptuous to attach public attention to the portraiture of those who are uninteresting or unknown. Horses, dogs, cats, and rabbits, are also seen in modern exhibitions, not as accessorial and subordinate parts of a picture, but evidently placed to be painted from, in order to gratify the vanity of their owners. It may be urged, that if portrait painting were discouraged, artists would lose great part of their present emolument ""Tis true 'tis pity, and pity 'tis 'tis true." But let it be remembered, that the art suffers, although here and there an artist may be benefited, and that it is not so much painting portraits as exhibiting them which we deprecate. If they were more sparingly admitted, people in geendeavour to discover the real merits of neral who frequent the Academy would trace the accuracy of resemblance of the pictures they behold rather than to Tom Nokes,or the faithful representation of the features of Jack Styles. In depicting scenes of domestic life, and in successfully vie not only with modern landscape, however, English artists may but with ancient painters. No. 176, Mauritania, H. THOMSON, R. A. is a picture of great merit. It represents a family groupe disturbed by the approach of a lion; the mother straining to her embrace an infant; the father preparing to make resistance to the attack of their formidable foe. The expression of the picture is highly interesting; every muscle betrays apprehension, and the language of another Thomson is appropriately quoted "Th' awakened village starts; And to her Auttering heart the mother strains Her infant : 1816.] Exhibition of Painters in Oil and Water Colours. While, uproar all, the wilderness resounds, 206. The Battle of Waterloo, D. DIGHTON. The attention bestowed on this picture is derived from its subject, not from its merits. 283. The Raising of Lazarus, W. HILTON, A.-This is not the best work we have seen of Mr. Hilton's, but still it preserves no small degree of excellence, The figure of Christ is majestic and commanding; the expression of Lazarus is exceedingly well managed, and the drawing highly creditable, both as to anatomy and fore-shortening. We regret to see something like affectation in the attitudes of the women, and the colouring of Lazarus is crude; but with these trifling exceptions, we feel great pleasure in pointing out this picture to the notice of our readers. 33. Tam O'Shanter, T. STOTHARD, R.A. is excellently painted: it completely embodies this eccentric production of the Scottish bard; a supernatural tone of colour pervades the whole, and the lovers of Burns will in this picture find a treat. 119. The Presentation in the Temple, R. WESTALL, R. A. has the mannerism of the artist. Its colours are gaudy and harsh, and the grouping of the figures frequently theatrical and affected. It is but justice, however, to observe, that the kneeling figure of the madona is elegant and simple. The child too is well painted, and the figure of Simeon, were it not for his woolly beard, would be admirable. Mr. Westall never appeals in vain to the feelings, but he has not succeeded so well as in the picture of last year-The Dead Fisherman. 64. Europa, B. WEST, P. R. A. is evidently placed here in order that the catalogue might not lose its distinguished honour in bearing the name of the president; and a recollection of the former greatness of the artist is perhaps the reason why this picture has been spoken of so severely. It is not in his best style certainly, but had it been the work of any other pencil, it would have attracted great attention. The colouring and expression are not unworthy of the name that is affixed. We defer our farther remarks on the domestic scenes and landscapes in this exhibition till our next. EXHIBITION OF THE SOCIETY OF PAINTERS IN OIL AND WATER COLOURS.(The Twelfth.) 1816. We are sorry to state that this exhibition is not so good as in some former NEW MONTHLY MAG.-No. 28. 449 years. We perceive that many artists, who heretofore excelled in water colours, have now painted in oil, and the marks of inexperience are evident in their pencilling. Let us bope that this evil will be removed by next year, and the change of style will not then be regretted. to the 66. Christ giving Sight to the Blind, H. RICHTER.There is in this picture a great portion of sublimity; a sort of supernatural light, well suited subject, pervades the whole groupe, and although the artist has frequently defied nature, yet, in pursuing the sublime, he has never once trod upon the absurd, of which, in such an object, there is great danger. The figure of Christ is a personification of all that is grand and beauteous in the human form, over which the artist has thrown a hea venly and benign character, plainly indicating the superior nature of the being whom it represents. 26. A Study for a Head, R. B. HAYDON.-A most exquisite and beautiful performance, of which we can say nothing more flattering, nor more just, than that it equals in excellence the former productions of our most vigorous and promising countryman, Haydon. two or 64. A Portrait, J. LINNELL.-We are sorry that this gentleman deserts that line of art in which he so much excels; he has about the room three hard and ill painted portraits, which we should be inclined to notice with censure, but for some exquisite landscape in his best style, which quite disarms our criticism. 13. View on the River Kennet, and 35. Ferry near Orford, J. LINNELL, need only to be seen in order to be admired for their faithful representation of the most pleasing and sparkling effects of nature. 60. Scene at Hampton Cliffs, B. BARKER, is highly beautiful and masterly, and partakes of the character of a good old painting. Its hues are always faithful to nature. 65. Cattle. The Last Gleam of the Setting Sun, J. GLOVER.-This picture is nature itself: every object catches the "last gleam," as if reluctant to sink into obscurity and night. The effect is brilliant and interesting, and this one picture would (had he painted no other) place Glover high in rank among British painters. 82. View in Villa França, in Spain, J. VARLEY. A very masterly production. We shall resume our remarks on this exhibition in our next. VOL. V. 2M 450 Dramatic Register-Drury-Lane, INTELLIGENCE. We are happy to announce that the British Institution, Pall-Mall, will shortly open to the public, with an exhibition of the best pictures in this country of the Italian masters. It will be a high and unexampled treat to all lovers of painting. We need only state, that it will include two of the Cartoons of Raphael, two of the finest Claudes in the world, besides the other best Italian pictures in the possession of the following contributors : H. R. H. the Prince Regent. Marquisses Lansdown and Stafford. Earls Suffolk, Aberdeen, Powlett, Cowper, Egremont, Darnley, Powis, Grosvenor, and Mulgrave. Lady Lucas. Lords Anson, Dundas, and Northwick.. DRURY-LANE. [June 1, Sir S. Clarke, G. Beaumont, W. W Wynne, A. Hume, M. M. Sykes, and T. Baring. Messrs. A. Baring, Banks, Byng, Coke, Carr, Colborne, Cholmondeley, Hibbert, Hope, Knight, J. Knight, Miles, Sanford, Taylor, and West. Mr. JOHN CORNER has issued proposals for publishing by subscription, "Portraits of Celebrated Painters," graved by himself from established authorities. This work is intended to form a complete series of the portraits of eminent painters, and cannot but be interesting to all lovers of art. We have seen two or three plates already engraved, and from these we augur favourably as to the style in which the work will be conducted. DRAMATIC REGISTER. THE 23d of April introduced to a London audience, a new Juliet in the person of Miss Grimani, from the Bath theatre. The figure of this young lady is good, her appearance interesting, and her voice, though not remarkable for strength or variety, is evidently capable of a greater display of both than could be expected on a first appearance upon a metropoli tan stage. In commemoration of the second centenary from the death of Shakspeare, the tragedy was succeeded by the recitation of Garrick's Ode, which was delivered by Mr. Pope, and a grand pageant, illustrative of the immortal productions of the dramatic bard. Mrs. Bartley appeared as Melpomene, and Mrs. Davison as Thalia, while the other performers in dumb show, represented the most prominent characters of Shakspeare's muse. The audience however was far from relishing this pantomime, and it was not repeated. April 29th, a new piece entitled The Prodigal, was produced, on occasion of Mr. Rae's benefit. The scene, which is laid in Persia, afforded scope for variety in the dresses and decorations. The chief interest of the piece arose from the constant attachment of Zulieca (Miss F. Kelly) to Phanor, the Prodigal, (Rae). The latter is betrayed by his false friend Nardoc (S. Penley), who contrives to inspire him with an unfounded jealousy of his faithful Zulieca, to strip him of every thing, and to involve even his life in a variety of dangers. Zulieca, in the disguise of a slave, preserves his life, and finally convinces him of her fidelity. This piece which contained nothing that called either for particular censure or commendation, was performed only two nights. It was followed on each,by the amusing farce of, Three Weeks after Marriage, in which that promising young actress Miss Nash appeared for the first time in comedy, in the character of Lady Racket, whom she personated with a spirit and effect that might have provoked a less fiery temper than the impetuous Sir Charles is supposed to possess. May 2d, while the solemn nuptial rite was uniting the presumptive heiress of the British throne, to a prince whose merits render him worthy of such a bride, the auspicious event was celebrated on the boards of this theatre, in a new musical romance, entitled, The Count of Anjou, or, More Marriages than One. The music by Mr. T. Cooke, the splendid scenery, and the occasion which called forth this trifle made amends for its want of dramatic merit, and secured it a favourable reception; though some reflections on petticoat government, rather injudiciously introduced towards the end seemed for a time to threaten its condemnation. On the 9th of May was exhibited the phænomenon of a new tragedy, attended with the still more extraordinary circumstance of complete success. Whether this success be not in some degree attributable to adventitious circumstances, we shall not stop here to enquire; but we most sincerely rejoice at it, as tending to improve the circumstances and prospects of the author, a man of worth and unquestionable genius. Ber 1816.] Dramatic Register-Covent-Garden. tram, or, the Castle of St. Aldobrand, the production of the Rev. R. C. Maturin, a clergyman of Dublin, combines excellencies of a high order, with what we cannot forbear, considering as defects: but on the merits of the piece itself, which has been announced for representation every night during the season, we reserve our sentiments for another occasion. The scene is laid in Sicily; the plot is briefly this: Bertram the former favourite of his sovereign and the people, prompted by insatiable ambition, extends his views even to the crown itself. Conquered in the field by Aldobrand, who supports the cause of the king, and declared an outlaw, he embarks with a few adherents to seek shelter in a foreign country, but is shipwrecked on the coast of Sicily, near the convent of St. Anselm, and the castle of Aldobrand. Bertram, rescued from the waves by the monks, reveals himself to the prior; who advises him in order to avoid suspicion, to comply with the custom, according to which, all strangers are expected to repair to the castle, and partake of its hospitalities. Here he meets Imogine, the object of his early attachment, and who had returned his love with equal ardour. Fired with the information that necessity has compelled her to become the wife of Aldobrand, he resolves to accomplish the destruction of his enemy. He prevails upon Imogine, to grant him an interview of one hour: that hour proves fatal to her virtue. Aldobrand returns from his expedition, and is killed in her presence by the furious Bertram, who afterwards surrenders himself to the attendants of his foe. Conducted away by them in chains, he arrives at a wild spot, where in a cavern the distracted Imogine had taken her abode after the murder of her lord. He meets the unhappy maniac, who recognises the author of her ruin, and expires heart-broken in his arms upon which, Bertram snatches a sword from one of his guards, plunges it into his bosom, and dies exulting that he has escaped an ignominious execution, and that a "warrior's weapon has freed a warrior's soul." From this slight sketch, it will be obvious that the part of Bertram is peculiarly adapted to the powers of Mr. Kean, by whom it is represented with extraordinary energy and effect. He is a mixture of ambition, pride and revenge; a character ashamed of the feelings of ordinary men, who has little in common with them, but his passion for a lovely 451 woman, and in whose sorrows ordi- COVENT GARDEN. On the 23d of April, Mr. John Kemble resumed his engagement at this theatre in the character of Coriolanus, the personation of which is generally considered as one of his happiest efforts. He performed the part with his peculiar excellence, but not without exhibiting some of those symptoms which seem to indicate, that at no very distant period, he may find it necessary to retire from a profession, in which it is indispensably requisite that the energies of mind, however perfect, be accompanied by unimpaired physical powers. The tragedy was succeeded by the |