Not contented with translating the romances of Sir Walter Scott, the Russians have fabricated others, which the booksellers of Moscow pass off as his productions; although it is almost needless to say they have nothing of Sir Walter in them, beyond his name on the title-pages. Among these soi-disant Scotch novels is one entitled Gustavus Waldheim, which even had not the worthy baronet already so numerous a literary progeny of his own, he would hardly care to adopt. Translations of the Talisman, and of Paul's Letters to his Kinsfolk, were published last year at Moscow. An interesting work has lately appeared relative to the principal collections of pictures at St. Petersburg, under the title of Kunst und Alterthum, in St. Petersburg. In the first volume (the only one yet published) the author, M. Hand, gives a description of the pictures in the Hermitage, arranged both chronologically and according to schools. This classifica tion not only renders the book more useful as a work of reference, but less fragmentary than a mere catalogue raisonné. Historical notices are given respecting many of the pictures, and also the characteristics of the various masters. The gallery of the Hermitage is particularly rich in the productions of the Spanish school, commencing with Antonio del Rincon, and continued down to Alonso Miguel de Tobar, who died in 1758. It may, perhaps, be pleasing to our readers to have the following notice of the Fine Arts in Russia. We do not pledge ourselves for its correctness, for it is derived from Russian sources. We have heard, indeed, from English residents in Russia, that in that country there is a very exalted opinion entertained of native merit in the above department. Very little, however, has been hitherto known on this subject in other countries. The structure erected for the academy, of which the empress laid the first stone in 1765, is itself a most magnificent pile, and does honour to the taste and ability of its architect, Kakorinov, who, it should be recorded, was a native of Siberia. This edifice will not suffer by a comparison with any other of the same period, either in Italy or elsewhere. Indeed, Russia must be allowed to have produced several very distinguished architects, for, as may be imagined, this art has met with more encouragement than the rest; while, in a new capital, and under munificent sovereigns, opportunities have not been wanting for it to exert its powers. A taste for painting and sculpture does not insure, as a matter of course, patronage to the living artist: the connoisseur may collect the works of the old masters, and the virtuoso gather around him the relics of antiquity, but buildings cannot be imported; he who erects them must be content to avail himself of the talent of his contemporaries. During the reign of Catherine, the academy sent forth not less than one thousand artists; among them were Sokolov, who distinguished himself as an historical painter, and who formed his style upon that of Battoni; and Akimov, and Ugriumov, who likewise followed the same branch of the art. Levitsky displayed considerable talent in portraiture, as did also Borovikovsky, a native of Little Russia, and Shtshukin. In landscape may be mentioned Shtshedrin, Matviev, Ivanov, (who also painted battlepieces,) and Martinov: the latter displayed considerable taste in his com positions, a beautiful tone of colouring, and great freedom of pencil: to these may be added Alexiev, who has been termed the Russian Canaletti. Gordiev, one of the earliest pupils of the academy, was a sculptor of considerable ability: his taste was correct, and the style of his draperies approached that of the antique. His contemporary, Kozlovsky, who died in 1802, excelled him in originality and in the knowledge of anatomy, and, like Michael Angelo, of whom he was both an admirer and an imitator, he loved to display his skill in this particular branch. He has once been eclipsed by Martos, a living artist, who, if credit be given to the praises lavished upon him, must be one of the first sculptors in Europe. Less fiery in his conceptions than Kozlovsky, his figures satisfy the eye better, although the first impression be not so vivid and deep; and if his productions possess not the grace of Canova, they have less of affectation and mannerism, while his draperies are decidedly superior to those of the Italian. His style of execution is correct, the expression of his figures always noble, and his basreliefs truly masterly. In architecture the most distinguished names are those of Bazhenov (died 1798); Volkov (died 1803); Starov (died 1816); Zakkarov, Andrew Mikhailov, Voronikhin, and Demertzov. Bazhenov and Starov were both pupils of Kakorinov; the former made a magnificent design for the restoration of the Kremlin; the latter built the church of St. Alexander Nevsky, the Tauridan palace, and the elegant church of St. Sophia, at Tzarskoe Selo. That immense pile, the Admiralty, at St. Petersburgh, is a splendid monument of the ability and taste of Zakhorov. Mikhailov, who was the colleague of the last-mentioned artist, in the academy, was the architect of the beautiful church of St. Catherine, at St. Petersburg. We might extend this catalogue very considerably, were we not aware that a bare enumeration of names is neither interesting nor entertaining; we must, however, be permitted to say here a few words respecting a living painter, Yegoriev, who, if he at all merit the following eulogium, must be a very superior genius: 'Yegoriev is an artist gifted with extraordinary talent, and, in point of design, has very few rivals in Europe. His works excited astonishment even in Rome: his style is noble, tasteful, and elevated; his composition is admirable; and his execution agreeable and fascinating. Did his pictures but possess more uniform vigour, were the expression of his faces bolder, and did he pay more attention to both linear and aerial perspective, his productions would be faultless, and would satisfy the most rigid critic. I should then not hesitate to call him our Raffaelle, but approximating more to the antique than the painter of Urbino.' Stockholm. THE Academy of Music has elected, as honorary member, Schneider, the celebrated composer of the Last Judgment. Stuttgart. DR. MOHL, who is appointed to the oriental professorship at the University of Tübingen, is about to proceed to India, by order of the government of Wurtemberg, to purchase oriental manuscripts. Venice. 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Dictionnaire des Sciences Naturelles, dans lequel on traite méthodiquement des différens êtres de la nature, &c. |