386. 
The Departure of AEncas from Carthage.’ 
Calypjo conduéting Telemachus and Mentor to the 
Grotto.— Painted by W. Hamilton R. A. En- 
graved by Eggireton. Plain il. 11s. 6d. in 
colurs 31. 38. 0d: Tomkins Bond-fteret. 
Thefe prints are engraved in the chalk 
manner, and may be termed /howy things, 
but thofe painted in colours are rather 
- gaudy than fplendid, for the printer feems 
to have imagined that nothing but bright 
colours was neceflary to produce a brilliant 
effect, and has left out the fhadows ; this 
makes them jive in the fame fenfe as that 
of the artift, who not being able to paint a 
good hand, graced the wrift- with a point 
lace ruffie. ‘The plain prints are better, 
but in many refpeéts erroneous in the draw- 
ing. The figure of xeas, though ha- 
bited in moit gorgeous panoply, is glaringly 
defective ; and fuch a Dido was not worth 
waiting for: the background and fur- 
rounding fcenery is very beautiful and 
appropriate. iin, 
In the other print Calypfo has not much 
of that captivating and bewitching beauty 
which was not to be withftood, nor does 
Telemachus {eer to be much ftruck with 
her charms; he goes, becaufe fhe afks 
him, not becaufe he is attraéted by irre- 
fiftible beauty. As to Mentor, fo far from 
being qualified to give advice to his pupil, 
he feems to want it for himfelf, and looks 
as if he were fearching for a thought with- 
out fuccefs. : : 
Priam at the Feet of Achilles, entreating for the 
dead body of Hetor. Painted by Copley, en- 
‘graved and publifbed by Fogg, No..50, Old 
Bond -fireet. 
This alfo is engraved in the chalk man- 
ner, and it mult be acknowledged the de- 
fign is fomewhat interelting, but it wants 
dignity and fimplicity both in the defign 
and chiarofcuro. ‘There is alfo an unpar- 
donable difproportion in-the fize of the 
figures; between thofe in the foreground 
and the back ground there is only the 
breadth of a table, and yet thofe in the 
latter are not one third of the fize of thofe 
in the former, and from this circumftance, 
as they cannot be materially diminifhed by 
the perfpective, they give an idea‘of little 
men. ‘Achilles wants nerve ; he does not 
appear the mighty hero drawn-by the poet ; 
and though the tace is handfome, it is not 
of the right caft, it is not military ; nei- 
ther is there any trait of that gloomy 
vengeance with which he fhould have been 
characterifed : in the place of-it, the rul- 
ing. paffion of the moment is furprife. 
Priam is acommon old man, without the 
finalieft portion of intereft in his counte- 
nance. | cha : 
«@ 
Retrofpeét of the Fine Arts. 
[May dT; 
From Gesner’s Dzatu or Aper. Adam 
bearing the Dead Body of Abel. W. Singleton, 
pinxit. Fas. Godby, fculp. publifbed by Mur- 
phy, Howland-ftrect, tl. 1s. The Departure 
of Cain. Ditto, Ditto. 
Singleton’s pictures have merit; butare - 
marked with, a general famenefs that at 
firft fight imprefles the idea of our having 
feen them before. In thefe two defigns 
the figures are fo much of the fame caft, 
that there is no feparating them. Adam — 
is another Cain, and Mahala another Eve, 
In the fecond are fome children neither — 
elegant nor correéts In the face of Ma- 
hala taking a farewel look at the cottage 
of her parents there is fomething intereft- 
ing; and though the figures are il] drawn, 
they are engraved in a rich and thowy 
ftyle, inthe chalk manner, 
The Dead Soldier, engraved by Heath from a 
picture by Wright of Derby, price. 11. 6s. 
publifbed by Heath, and for Thompfon. 
This print has been publifhed fome time; 
but every time we view it, it gives us freth 
pleafure. It is an addrefs to the mind, 
and caiculated to imprefs the heart with 
the moft tender fympathy for the elegant 
female, who in fuch a place, and under 
fuch circumftantes + of — heart-wringin 
agony, is contemplating a hufband dead, 
and a helplefs infant dependant on her for 
its precarious fuftenance! It has been re- 
marked, and perhaps with a degree of 
juftice, that the figures are not large 
‘enough for the tent and furrgunding fee- 
nery; be this as it may, the general effect 
is fafcinating and impreffive, and the ges 
neral hue of the prnit has that fine filver 
tone fo much admired in pictures’ by 
Teniers. » 
Cottagers at the Bottom of Mount Vefuwvius. 
Gruffier del.  Bartolozsi feulp. 
One of thefe coftagers, from her mag- 
nificent habit, might pafs for an Egyptian 
princefs. She has beads enough to furnifh 
a troop of pilgrims with rofaries, and is 
on the whole more like any other thing 
than a peafant. Another of thefe peafants 
of the Mount, from her air, attitude, and 
habit, might very well pafs for a {phinx. 
Notwithftanding all this, the effec&t is — 
agreeable and pleafing, the whole has 
what painters call a very pretty eye; and 
tho’ the dancing dog is grotefque,it{may be — 
appropriate. . aot ; 
Portrait of Dr. Black, late Profeffor of Che- 
' miftry in the Univerfity of Edinburgh ; engrav= « 
ed by Heath froma Piéture by Raeburn. Proofs 
tos. 6d. Prints 7s. 6d. In colours 15s. — 
Publifbed for Heath, ana for Thompfon, Great 
Newport-fireet. it ine ee 
Mr. Raeburn’s portraits are generally. 
marked by a clofe refemblance to the 
ies original, 
\ 
: 
