fection, we are fhewn how to delineate an entire plane building; and first, from the geometrical plan and station determined, how to fix on the true pofition of the picture; which we own had Rever entered into our conception before, not seeing the neceflity of a diverfity of pofition in moveable pictures. As it may poffibly be alfo new to fome of our readers, we have, in the plate given in our laft Review, copied a fpecimen of the different effects produced, by the different pofition of the picture, of the fame object, and from the fame ftation or point of view. We had conceived, that the picture on which any object was delineated in perfpective, was fuppofed to be directly interpofed between the object and the eye; but we now find, that if many pictures are fo viewed, they do not properly reprefent the object for which they were delineated. We have frequently obferved, in the representations of buildings or other objects which are rightangled; that the horizontal lines in one face are parallel amongst themselves, and confequently, that the whole face, and every figure in it, are fimilar to their originals; but we did not imagine that all fuch reprefentations fhould be viewed obliquely; though we own it is abfurd to fuppofe that it should appear like the object otherwise.

Figures 3, 4, and 5, [See the plate in our laft Review] are reprefentations of the fame object from the fame ftation. It is certain, that when two faces of a right-angled object are feen, the horizontal lines in either do not appear parallel; nevertheless, in fig. 3. they are fo in the end of the building, and the triangle G ED of the pediment, as well as the whole end, is fimilar to the original of it; and the horizontal lines, AB, G H, &c. in the front, which are at right angles with the end, converge in the point C, which is the center of view for this picture, at the distance C E.

As the author has, in theo. ro. and the fubfequent corollaries demonftrated, that if the picture be parallel to any plane of any object, the representation of that plane, and of every figure in it, will be fimilar to its original; confequently, the picture must be parallel to this end of the building, in this representation, and therefore it muft neceffarily be viewed obliquely; that is, the eye must be perpendicularly oppofite to the point C, (the center of the picture) and at the distance CE; in which point only, it can truly reprefent the object for which it was delineated.

The ftation remaining the fame, let us fuppofe the pofition of the picture changed, and placed parallel to the front of the building; in which cafe, the reprefentation of the whole front is fimilar to the original; and the horizontal lines in the end being at right angles with the front, converge in the fame point C, which is alfo the center of view for this picture, on the right hand of the object. Here indeed is much greater diftortion than

in the other; but if the eye be placed perpendicularly oppofite to C, and at the distance of C E (which is lefs than the former) no diftortion is perceived, but it will appear truly to reprefent the original, of which it may be a juft reprefentation.

Our author afks, where is the propriety of fuppofing the picture parallel to either face of a right-angled object, when two are feen or what reafon can be affigned, why it may not with the fame propriety, be as well parallel to the front as to the end? or why it muft neceffarily be parallel to either in this cafe? For, fince two faces of the object are feen, he affirms, that the horizontal lines in either do not appear parallel; then, why are they fo reprefented? It appears to us prepofterous and unnatural, although it may be a true artificial reprefentation. In this pofition of the picture, all the lines in the triangle GED tend to their proper vanishing points, in the vanishing line A C, produced of its plane, which in the other is a fimilar figure to the original.

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Fig. 5, fays the author, exhibits a true and natural reprefentation of the fame object, from the fame ftation, in the most judicious pofition of the picture."

The center of view in this picture is directly on the object, at C, the distance is not here afcertained; but at any distance, whatever, it has certainly the moft pleafing and natural appearance of the three; in which, none of the horizontal lines are parallel, in either face; but, in each, they converge to their proper vanishing point.

"This leffon (fays he further) properly digested, will give the ftudent a clear idea of the caufe of diftortion, in the reprefentation, and teach him how to avoid it."

It appears ftrange to us, how any artift, whofe bufinefs or profeffion, we should fuppofe, neceffarily required a thorough knowledge of Perfpective, fhould be at a lofs in these matters; which seem to us so very evident, that a novice in the art could not, ve fuppofe, hesitate one moment to determine on it with propriety. This we know, that the former is fomewhat easier to delineate; and, as the old authors have, we prefume, much the greater fhare in their inftruction in this ufeful and neceffary art, it is not ftrange that they are prejudiced in their favour; and finding fomewhat more of geometry neceffary to be used in the new principles, they seem studiously determined to have nothing at all to do with them.

This fection contains leffons from the plain and fimple object to the more elegant and decorated, with the various orders; and abounds with views of public buildings, in and about town, elegantly engraved. In the next fection the author treats wholly of internal fubjects; as rooms, arcades, cieling-pieces, &c. But what takes our attention the moft is, a curious and striking reprefentation

prefentation of a ftaircafe; in which is exhibited a more perfec idea of a direct defcent, than we have ever feen described on a plane. This idea has fo much the appearance of novelty to us that we imagined it would be an agreeable entertainment to our readers; we have, therefore, given a copy of it reverfed. Here is, indeed, fearce half of what is exhibited in the work; but it is that part for which the whole is delineated, viz. the part AHI (fig. 6.) which reprefents the defcending flight of stairs; as LKB the afcending, in which is nothing remarkably fingular. This piece is of that kind which might escape the notice of a common obferver; but, being properly attended to, will be found really furprifing; for, if the eye be placed perpendicularly oppofite to the point C, the center of view, and at the distance CE, giving due attention to the whole, we have the most striking idea imaginable, of a real defcent, from the landing-place, at AB, to the half pace below, at HH; which appears a paradox, that what' really defcends, in the object, fhould be reprefented by a real rifing, in the picture; which, duly confidered, however, has no thing of myftery in it; for, as the author tells us, if the descent were fo great as not to rife upwards on the picture it could not poffibly be reprefented thereon; but if it can be feen at all, it muft neceffarily and unavoidably appear to rife; or rather, it muft really rife, on the picture, for the appearance is to defcend which is really the case when viewed properly, and with attention, that is, in the proper point of view, for which it was delineated.

The vanishing line of the defcent is FG, and D the vanishing point of the lines. CE is the horizontal line, or vanishing line of the stairs, &c. which are horizontal; and C is the center of the picture; the vanishing point of all the ends of the steps, and other horizontal lines, which recede directly from the picture.

This fubject has employed the pens and genius of other writers on the fubject of Perfpective, particularly the late Mr. Kirby, who fays, "that it is impoflible in the nature of things to be done:" furely, it is not impoffible to reprefent what can be feen; "that it is a strong inftance of the infufficiency of Perspective, and, that we must have recourfe to experience, only, in fuch cafes." Although we had not, perhaps, the most competent ideas of Perspective, till we were led to the critical perusal of this valuable performance, yet we never fufpected that there were imperfections in the fcience, or in the art derived from it; we are now, neverthelefs, convinced of the futility of fuch remarks, and fatisfied that there can be no fallacy or imperfection in Perspective, as every thing in it is capable of ftrict mathematical demonftration.

The remainder of this fection is very interefting, treating of a most

most important fubject, viz. on horizontal pictures, or cielingpieces, in which the author has difplayed great judgment and ingenuity; not fo much in defign as in his manner of treating it. Here is a plain, yet elegant design given, free from redundancies and extravagant fuperfluities, common in fuch fubjects, especially in the productions of the Italian masters. The whole process, from the beginning to the end, is here defcribed (which is feldom done in other works, though abundantly throughout the prefent) and, although it is not the moft ftriking picture, it is a moft juft and accurate reprefentation of the defign given, and is, perhaps, the most valuable plate in the whole book.

The 12th and last section of this book is referved for the more abftrufe parts of practical Perspective; the foregoing being folely confined to the useful, in this fection the author has prepared entertainment for the more curious and fpeculative artist. The works of fome writers on this fubject are chiefly compofed of fuch objects as are of little ufe, except to enforce the principles, without shewing their application in familiar fubjects; whereas, in this the whole has, hitherto, been confined to useful and familiar fubjects only. This fection has feveral problems peculiar to it, which are not neceffary in common practice, but are, neverthelefs, founded on the fame invariable principles; by means of which, the representation of an object may be truly defcribed on a plane, or picture, in any determined polition. Its application alfo to planes, in original objects, inclined to the picture, or to the horizon, in any known angle, is here made clear to any perfon who is tolerably converfant in geometry. Although we are not led through all the mazes attending the perspective projection of the Platonic bodies, as in fome other works, we have, nevertheless, the most certain rules given and demonftrated, by which we may proceed in the moft difficult cafes, and on a more certain foundation; alfo, from certain data, we are fhewn the whole procefs, how to project the octahedron, in the most difficult cafe imaginable; which is applicable to all other regular, plane objects, whatever.

We have now given a circumftantial account of the third book of this work; which, to do it that justice it merits, would exceed the limits prescribed us: having explained all the figures on the plate, we fhall, therefore, defer our remarks on the fourth book to a future Review.

ART. VI. Sir Eldred of the Bower, and the Bleeding Rock; Two Legendary Tales. By Mifs Hannah More. 4to. 2s. 6d. Cadell. Having entertained a promising opinion of Mifs Moore's poetical talents, we had flattered ourselves fhe would fooner or later fhine VOL. II. forth

P p

forth as a luminary, becoming the brightness of that conftellation of literary females, who do fo much honour to the prefent age. It redounds, indeed, particularly to the credit of our fair countrywomen, that, while fome of our moft popular male poets have been notoriously deftitute of fcience, erudition, and even common.fenfe, our female authors have been most of them diftinguishable for all three. We should with pleasure enumerate thefe literary ftars, did we think our fanction could enhance the fplendour of their reputation, or did we not run the risk of offending fome, by happening not, on the moment, to recollect the names of all those who compofe fo brilliant a Galaxy.-Our readers will be apt to fmile, at fo high-flown a compliment from fuch cynical churls as the London Reviewers; but they are to confider we have now before us the example of Miss Hannah More herfelf; who in her dedication to Mr. Garrick has the following fublime and fingular paffage.

I may be accuted of advancing a ftartling propofition, when I declare that you re an enemy to the Mufes; but if it be allowed that defcription and invention are the very foul of poetry, I fhall be juftified by the world in general, who conftantly behold you difplaying talents which cannot be defcribed, and exhibiting excellencies which leave nothing to be imagined."

It is with much more truth and good-sense that, (taken a few fteps lower) the fays, "Where merit is inconteftible, and characters are decided by the concurring fuffrage of mankind, praise becomes almoft impertinent."-Unluckily, indeed, for Mifs Hannah's application, the adds, "It is abfurd to be industrious in proving truths fo felf-evident, that no one ever thought of controverting them.”

Is it poffible Mifs Hannah can be as ignorant as her weft-country neighbour, who, arriving at the fummit of one of the first eastward hills in his way to London, wondered at the extent of the opening profpect; and exclaimed, he did not think the world fo woundy wide! Is it poffible Mifs Hannah More can be fo igLorant as to fuppose "no one ever thought of controverting" the character of Mr. Garrick-That the friendship of fome one or o her of his characters may do her honour we do not doubt; but ve fhould be glad to know in which of those characters he has profeffed, and the would chufe to accept, it; for that Mr. G. can ffume any character on any occafion, without having any proper character of his own, is as notorious as his own celebrity for fuch ffumption. That there is fomething fublime and beautiful in Mifs More's dedication, is most certain; but, with the fublime

The patron-general, as we have fomewhere observed, of the prefent age. We are forry, however, Mifs More had not the whip-hand of that celebrated artiff, the modeft Mr. Mat. Darley; who has lately dedicated to the fame genthmias his book

of Caracatures.

and