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MONTHLY RETROSPECT OF THE FINE ARTS. 
The Use of all New Prints, and Communications of Articles of Intelligence, are requested. 
_——— 
HE exhibition of the British Insti- 
tution, in Pall Mail, for the sule of 
the works of ivving artists, being closed 
for the season, the Gallery was re-opencd 
in August last for the study of works of 
the ancient masters in painting. Be- 
tween twenty and thirty pictures have 
this year been sent by various distin- 
guished cognoscenti and collectors, and 
nearly twice as any students, male and 
female, are employed in copying, or mak- 
ing studies from them. 
There are two-uses to which coljec- 
tions of pictures may serve; the one, 
fer the imitation of the pupil, in order 
to impress more strongiy on his mind ex- 
amples of excellence which may prove 
a standard of comparison for his own 
works; the other, for enabling a more 
advanced student to form a just selec- 
tion from the various manners of ccle- 
brated schools, whereby he may guide 
his progress in the path of his profession. 
Tt can hardly be expected in any collec- 
tion of pictures to find all equally excel- 
lent, and stil less in a contributory one, 
such as forms the school of the British 
Gallery ; and as it cannot be demanded 
that the several contributors should fur- 
nish taste as weil as pictures, it is a cir- 
cumstance highly favourable to the im- 
provement of the Tyros, that the skill and 
sound judgment of the secretary, who is 
constantly in the room, are fully equal to 
the task of pointing out what to take and 
what to leave. Thisis no doubt a point 
‘within the speculation of the governors, 
as it is otherwise hardly to be imagined 
that a’ gallery, designed to enlighten the 
‘minds and stamp the taste of rising genius, 
should be made the receptacle of such in- 
eee picts as the St. Jerome, and 
the Virgin and St. John, &c. weeping over 
the dead body of Christ : the former said 
to be by Titian, and the latter by Bra- 
mante; both sent, no doubt, with the 
‘best intentions by their noble possessors, 
‘but unfortunately inadequate to their 
wishes in the present’ instance. ‘The 
first is so indistinct, and so inexpressive, 
‘as to character, and so obscure, as to 
colour, that if little good is to be ob- 
' tained, little danger is to be apprehended 
from its influence: the second has the 
imposing recommendation, to a vulgar 
eye, of tedious, accurate, and demonstra- 
ble, labour. The architect aimed in it 
@t expression and drawing, and he has 
made the first less strong than coarse, 
and the secoud hard, dry, wad sud. The 
colour, as might be expected, is :nouo- 
tonous. Both these pictures hold a just 
rank in any collection but one intended 
to form the taste of youth. ¢ 
Having mentioned two of the worst 
pictures in the room, it is but fair to nes 
tice two of the best ; aud for these exam- 
Swe the Venus and Adonis, and the large - 
andscape, by Ciaude, with a distant view 
of Mount Soracte, may be selected with- 
out’ prejudice to the merits of the rest. 
In the Venus and Adonis, the fascinaung 
art of Titiap, however its utmost force 
and lustre may be impaired by time, is 
still worthy of our highest admiration, 
The body of the Venus is a masteér-piece 
of colowring, both as to the purity, har- 
mony, richness, and gradations, of tints, 
The mellow deeper hue of the Adonis 
comes next in praise. In composition, 
and in brightness and richness of general 
effect, this picture is one of the most pre- 
cious relics of painting. 
In the landsgape by Claude Lorrain, 
his well-known poetical composition, and 
aévial colouring, are both to be found 
fully equal to his fame. 
Several other pictuves inwthe Gallery 
will furnish both lesson and example to 
the pupils. The Hippolytus, by Rubens; 
the Four Men under a Gateway, by Ve- 
lasquez (a picture said to bave been 
particularly a favorite with Gainsho- 
rough); a Flight into Egypt, probably by 
Jordaens ; a Lemale Portrait, by Titian, 
‘or P. Veronese ; a large Landscape, with 
Peasunts dancing, and another by Cuyp, 
in which the sky is most singularly beaus 
tiful, are all admirable specimens of art. 
The Rape of the Subines, by Rubens, is a 
hodge-podge of beauty and deformity, 
The colour is rich and glowing, but the 
figures are more than usually clunisy, and 
there is little variety or beauty in the 
grouping of them. 
A Study of Three Men on Horseback 
is finely skctched. It is of the Flemish 
school ; and if it be said to be by Velus- 
quez, who will reject the present attrace 
tion of a Spanish name? ; 
Of his Majesty’s goodness in granting 
the loan of the picture by Tintoret, it 
would be indecarous to speak at the pre- 
sent moment. No doubt can be enter= 
tained of our sovereign’s benign disposi- 
tion towards the arts and their profes- 
OTS, 
