Retrofpec? of Domeftic Literature.—Fine Arts. 
Br. Hutton has publithed a fecond 
edition of his little traét on’ “ The Prin- 
ciples of Bridges, &c.”? Dr. Hutton con- 
fiders the arch to be one body, that is to 
fay, compofed of materials united by ce- 
ment, fo asto form buta fingle fubfiance ; 
an this theory, the juft.diftvibution of ver- 
tical preffure is what is to be confidered, in 
order to keep the arch in equilibrio. The 
Interior curve is determined by the ex'erior 
‘curve being g’ven, and the fuperincumbent 
weight. In Mr. Atwood’s theory the 
fegments of the arch are not {uppo‘ed to 
cohere by means of cement, but are 
joined to each other by the force merely of 
adjulted gravity and refittance. 
Mr. Keiiy has publifhed a féeond 
edition of ‘his * Praétical Introdu&ticn to 
Spherics and nautical Aftronomy.” 
Mr. Crarke has publithed fome 
¢¢ Animadverfions on Dr. Dick fon’s Tranf- 
Jation of Refle&ions on the Theory of tite 
Infiniteimal Calculus (the Doétrine of 
Fluxions). From the French of C. Car- 
not. 
FINE ARTS. 
“* Leétures on Painting, delivered at 
the Royal Academy, March 1801, by 
HENRY Fuseut, P. PP.’ The extraor- 
dinary genius of Mr. Fufeli is not to be 
difputed ; he has a head to conceive, and 
ahand to embody the unfubflantial beings 
of the air : withered witches, ghofis, and 
devils, are called up at the bidding of his 
magic pencil; but withall his genius, Mr. 
Fufeli is (urely deftituté of that chafte and 
elaffic tafte, without which no one, whe- 
ther engaged in the practice, or elucidat- 
ing the principles, of his art, can obtain a 
dJong-lived celebrity. Mr, Fufeli deals out 
his cenfures with too authoritative atone 
and imperious a hand: the academic 
chair imparts not infallibility to his opi- 
niors, and if he had been lefs di@atorial 
he would have been more prudent. The 
deStures altogether difplay an extent of 
reading, and a conliderable degree of 
knowledge of the fubje& on which they 
treat : they are comprehenfive, as will ap- 
pear from the following arrangement of 
them in the words of the author. -** The 
firit lecture exhibits a more critical than an 
hiftoric fketch of the origin and progre({s 
of our art, confining refearch to that pe- 
riod when faét and fubftantial informa- 
tion took place of conje€lure ; it natu- 
rally divides itielt into two parts—the art 
of the ancients, and its reftoration among 
the moderns: each is divided into three 
periods—tiat of preparation, that of full 
efablifhment, and that of refinement.— 
The fecond lefture treats on the real fub- 
MontTuHuiy Mage, No. 89, 
645 
jects of painting, and the plaftic arts, in 
contradiftin@ion to the fubjeéts -exciu- 
fively belonging to poetry—endeavouring 
to eftablith the reciprecal limits of both, 
from the eflential difference of their medi- 
um and materials. It eftablithes three 
principal clafics of painting—the epic, the 
dramatic, and the hifforic ; with their 
collateral branches of chara&eriftic por- 
trait and landicape, and the inferior fub- 
divifions of imitation. In the third, de- 
fien, correétnefs, copy, imitation, flyle, 
with its degrees of effential, character ftic, 
ideal, and deviation into manner, are con- 
fidered, and the clafles of the models le‘t 
us in the remains of ancient {culpture, ar- 
ranged. The fourth is devoted to invin- 
tion, in its moft general and fpecific fenfe, 
as it difcovers, felects, combines the pof- 
fible, the probable, and the known mate- 
rials of nature, in a mode that ftrikes with 
novelty. The fifth follows with compo- 
fition and expreffion—the drefler and foul 
of invention. The fixth concludes with 
ob/ervations en colour, drapery, and exe- 
“ution.” 
Mc. Durpa has publifhed, in imperial 
fol oe, « A Selefion of twelve Heads from 
the Laft Judgment of Michael Angelo.” 
To the ftudent in painting thefe will be a 
valuable acquifition: Michel Angelo’s 
*¢ Laft Judgment,”’ in the chapel of the 
Vatican, taken as a whole, has bren con- 
fidered not merely as an extravagant, but 
almolt a difguting compofition. The fub- 
je&t is too vait for human comprehenfioa : 
but this piture, neverthelefs, in its de- 
tached parts, difplays the lofty genius and 
unrivalled powers of that immortal artift : 
each diftiné figure is a feparate ftudy, and 
Mr. Duppa has contemplated their cha- 
raéters with the greateft care. He has fe- 
leéted from the immenfe groupe, of which 
this picture confifts, twelve heads, which. 
he has drawn in a noble ityle from the 
original of the fame fize: they are accom- 
panied with a print of the whole picture, 
engraved by Mr. Bartolozzi, in the 74th 
year of his age ! Mr. Duppa ftudied the 
anatomy of the human body under Dr. 
Marfnal, to whom he has dedicated this 
work. Zhe account which he has given 
of the original pifture, and his remarks on 
the genicsand manner of Michael Angelo, 
do the higheft credit to his tate and judg- 
ment, and evince him to have acquired a 
very contiderable knowledge in his art. 
Dr. BusBy has publifhed “ A com- 
plete Hiftory of Mufic; to which is pre- 
fixed, a familiar Introduction to the firk 
Principles of that Science.’ Although 
this work is not in every refpest {uch as 
40 
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