1825.] 
that one, of the several portraits, which was 
painted in her days of depression and cap- 
tivity, while her sister Mary-was yet upon 
the throne, and which is, therefore, in all 
probability, the most genuine likeness. The 
others have all the air of an assumption, 
which dictated to the artist in what sem- 
blances she chose to be perpetuated. The 
sympathy excited by the latter is, however, 
of a very different description from the for- 
mer. Itis reflected, not original: for we 
never could gaze uponit without being struck 
with the strong resemblance it bore to our 
late lamented Princess Charlotte of Wales : 
—the manner of whose death, at any 
rate, cannot but be recollected with some- 
thing like emotion. 
But we must not be led into digression. 
To these portraits (which exhibit not only 
the features and fashions of two centuries 
and a half ago, but, in the comparative pre- 
valence of the yellow and sandy tint of the 
hair, remind us, also, of the progressive 
mutation of complexion in our island race— 
as if our Saxon had become more deeply 
tinged with Italian blood), are added. some 
fine enamel copies of ancient and modern 
masters on a larger field: one especially 
—Titian’s “ Bath of Diana,’’ from the 
Marquis of Stafford’s fine collection, which 
wilk be gazed upon with insatiable delight 
by every admirer of the master-pieces of 
Italian art.. It is a picture which loses 
nothing by diminution; and the correct- 
ness with which the yet unrivalled colouring 
of the flesh, in the works of Titian, is trans- 
ferred and preserved through all the diffi- 
culties of the enamel process, is truly ad- 
mirable. ‘ 
Some original paintings by Mr. Bone, 
junior, which we also saw in another room, 
_ struck us very forcibly with the rapid’ pro- 
gress of that very promising young artist. 
THE COSMORAMA. 
This Panoramic Exhibition, as it is called, 
deserves to be ranked among the displays and 
applications of the fine arts, which minister 
at once to the pleasures of the eye, and are 
auxiliary to the information of the mind. 
There is much in it beyond the mere praise 
of artist-like ingenuity and beautiful pic- 
ture. Many of the subjects selected are 
not only gratifying to the passing sight, but 
have a tendency to excite, and assist. the 
attainment of knowledge relative to some. 
of the most curious objects of historical and | 
Fine Arts :—The Cosmorama. 
531 
of man, in ages and regions the most remote 
from local and modern apprehension. From 
the right-hand gallery the panoramic views 
of Athens, and of the Ruins of Pestum, 
are particularly captivating, not only for the 
union of the architectural and picturesque, 
but as associated with all the remembrances 
dear to us in the renown of elder times, _ 
and the struggles of the present era. Nor 
is the Monastery of Montserrat, or the 
Bridge of Alconeta, or the Summer Palace 
of the Grand Signior on the Bosphorus, 
without their interest. The view of New 
York, from Hobuck Ferry-house, though 
pleasing, is not equal’ either in subject or 
execution ; but the exterior of the. Bourse, 
or New Exchange, in Paris, is quite un- 
worthy of its place and association. — It 
should either be mended in execution, or 
the subject changed. If our projected 
Parthenon, in the neighbourhood of Char- 
ing Cross, is to look no better in architec- 
tural elevation, than this assumption of the 
same model does in panoramic picture, our 
expectation relative to the splendid im- 
provements going on will be somewhat, 
disappointed. 
But the left-hand Gallery of Asia and 
Africa, as it is called, is that which rivets 
and rewards most the attention. No. I, 
Grand Cairo with the Pyramids of Memphis, 
and the Course of the Nile in the extreme 
distance; No. 2, The Pyramids of Egypt, 
and No. 3, The Sphinx, carry us, in ima-. 
gination, through the wonders and over the 
vast deserts of a region, the primitive birth- 
place of arts, sciences and civilization, and 
still the objects of laborious and perilous 
research to the curiosity of the learned and 
scientific world; while No. 4, the Great 
Temple of Edfou, and No. 5, Monuments 
in the Island of Phyloé, represent to us the 
hieroglyphic forms and characters of im- 
penetrable mystery, and architecture, the 
work of remotest times, which would seem 
to have required for its erection, the exer- 
tion of more than mortal strength, and the 
aid of more than even the wonder-working 
powers of modern machinery. But even 
the astonishment excited by these is eclipsed 
by Nos. 6 and 7—two yiews of the Kailaca, 
or sacred excavated city of Elora, in Hin- 
dostan (considered by the Hindoo. theolo- 
gians as the Paradise of Siva, the third per- . 
son in their trinity); for the best deserip- 
tion of whose inexplicable grandeur, the 
reader may refer to Captain Seely’s “ Wort: 
antiquarian research—the history of arts and i ders of Elora.” 
Brie ORIGINAL 
