1821.} Register of the Fine Arts. 79 



.Touniul of a Tour in the Levniit ; by Wni. History of Voyasjes Into thi; Polar Regions 



Turner, e*q. 3 vdIs. 8vo. 31. Si. by Jolin Barrow, F.R.S. 8vo. 12s. 



THE MONTHLY REVTh^W and KEUl.-STER of the FINE ARTS, 



The value and rank o/erery art is in proportion to the mental labour employed in it, 

 or tfie mental pleasure produced by it." Reynolds. 



and raisorable little pictures, that have 

 so lon£? blejnis'.ietl the character of the 

 English school. He lashed with an iin- 

 sparitig hand tlie self-called i)atrons, 

 who after having expended a few poiiuds 

 to have their portraits painted, chuckle 

 over their patronage, and assume airs 

 of superiority. 



In the course of his lectures he also 



Portrait of Mr. LiSTON, Engraved br/ 

 James Ward, 11. \., from a Picture 

 by John Jackson, R.A. 



A CAREFULLY well scraped mez- 

 zotinto plate, from one of the 

 most faithful portraits ever painted. 

 Portrait of HER Majesty, — Pai>itcd 

 by Lonsdale, Engraved by Mkyer. 

 The original picture whence this 



excellent print is engraved,, was criticised the styles and manners of the 



painted by Mr, Lonsdale, at Brand en- ohl masters, and of celebrated pictures, 



burgh Hotisp, and was presented by her with that peculiarity of style and feli- 



Majestv to the Cor|>oration of the City city of description wliieii eminently 



of London. The Qieeu is represented distinguish Fuseli. 



sitting b}"^ a table, on wliich is her 

 crown, and is holding in her iiand her 

 celebrated letter " to the King." — It is 

 certainly the best likeness and best 



The following short extract from his 

 definition, if we may so call it, of Ru- 

 bens and his style, is peculiarly Fuse- 

 liseque and appropriate. — " What has 



picture tliat lias yet been painted of this been said of Michael Angela's forms, 



illustrious female, and is engrave^l in a may be applied to tlie colour of Rubens ; 



corresponding style of excellence with they had i)ut one. As tlie one came to 



the original picture. nature and moulded her to his generic 



Artists General Benevolent form, the otiier came to nature and 



INSTITITTION.— The annual dinner of tinged her with his favourite tone, that 



this truly charitable and national insti- of gay magnificence. From this he 



tution is fixed for the Friday previous 

 to the opening of the Royal Academy 

 exhibition. His Royal Highness the 

 Duke of Sussex, with his usual kind- 

 ness and pliilanthropy, has promised to 

 Jireside again on this occasion. The 

 lirectors have relieved from its ftmds 

 many distressing cases of sufferhig ta- 

 lent, with that delicacy for private feel 



never deviated, whatever be his subject, 

 sacred or profane, poetic or historic, 

 homely or elevated, merry or mournful, 

 grave or gay. The study of his works 

 has been recommended, as oftering the 

 fullest and clearest method of combining 

 file various modes of harmony that dis- 

 tinguish the ornamental, or, as it is 

 commonly called, the Venetian style; 



iiig which peculiarly distinguishes this in which the brightest colovirs possible 



society and the objects it seeks to re- are admitted with the two extremes of 



lieve,' where becoming pride of educa- warm and cold, and these reconciled by 



tiou is silently struggling with con- their being dispersed over the picture, 



suraingwant. till tlie whole appears like a bunch of 



Royal Academy.— The library and flowers. But if the economy of his 



various schools of tiie Academy ojVned tints be that of an immense nosegay, 



to the students after the Christmas re- 

 cess, on Monday the 8th of January, 

 and on the same evening Professor 

 Fuseli commenced his lectures on 

 painting to a numerous assemblage of 

 academicians, associates, students and 

 exliibitors. He pointed out to the 

 students tiie best models for their con- 

 templation, and the best modes for them 

 to conduct their studies, in the bast and 

 highest styles in energetic language. 

 He satirized with a poignancy that 



he has not always connected the ingre- 

 dients with a prismatic eye ; the ba- 

 lance of the iris is not arbitrary, the 

 balance of his colour often is." 



" It was not to be expected," conti- 

 nued Mr. Fuseii, " that correctness of 

 form should be the principal object of 

 Rubens, though he M'as master of draw- 

 ing, and even ambitious in tlic display 

 of anatomic knowledge: but there is 

 no mode of incorrectness except what 

 directly militated against breadth and 



evidently produced effect, the present fulness, of which his works do not set 

 rage for portraiture, for petty landscapes an example. His male forms, generally 



