Go 
favage quadruped to worry a weaker ani- 
mal, the owner of which is endeavouring 
to part the combatants. The introduc- 
tion of the two boys gives much additional 
intereft to the fcene, and telis a better 
~ dtory than Mr. Morland’s, where we have 
no accompaniment. Independent of this, 
the piéture has great merit; it is evi- 
dently taken from nature, and transferred 
to the canvas with great {pirit 5 and the 
engraving is in Mr. Smith’s be(t manner. 
The loote and flofky manner in which the 
hair of each of the quadrupeds is engraved, 
is in the-very beft and moft matterly ftyle. 
The companion print reprefents a cat 
briftling up to a deg. 
A Pair of Prints; the Alcboufe Door, and the 
Alehoufe Kitcven. Painted by G. Morland, 
engraved by R. S. Syer. t 
The firk of theic prints reprefents two 
labouring men, with a table and a jug of 
ale before them, at a cottage doore One 
of them is filling his pipe, and addrefiing - 
his tale to his companion, who, from his 
age and appearance, may be his fon. “¢)>5 picture of the laft fupper, painted on 
‘the wall of the Refeétory at Milan, has 
‘been noticed in a former Retrofpect ; to 
They are both of them Englith ruftics, 
and painted with as ftrict an attention to 
nature as the boors of Teniers, whofe 
manner Mr. Morland has happily tran{- 
Jafed into Englifh, and imitated. In the 
Aleboufe Kitchen, a poftilicn is kneeling 
upon a bench, on which he has placed his 
earthen mug of ale, is {moking a pipe, 
and looking with a very placid counte- 
nance at a waod fre, around which are 
{cated fome figures of a fimilar rank. Both 
ne defigns are evidently taken from na- 
ure. 
Pair of Prints; The young Fortune-teller, and 
the Sbeitered Lamb; from Pictures painted by 
R. Weiall, Efq. Rud. engraved by T. Gau- 
Yale. 
In the firft of thefe prints we are pre- 
fented with three infantine gypfies, one 
of whom is feated upon an-als, uttering 
their little oracular deciffions to a young 
ruitic, who is reclined upon an adjoining 
bank. The children, and an accompany- 
ing dog, are very prettily marked, and 
the Jand{cape and accompanying back 
ground are pictarefque’ and agreeable. 
‘The other print is made up with three in- 
fantine figures, one of whom is tenderly 
fheltering 2 lamb from the gathering ftorm, 
and as well as her two little companions, 
is a very engeging and interefting figure. 
Fefeph and his Mifirefs 3 defigned by R, Cofway, 
£jg. R. A. und engraved by W. Nuticr. 
The voluptuous blandifhments of Poti- 
phar’s wife, and the holy horror of the 
Retrofpedi of the Fine Aris. 
young Ifraelite, are well marked, and con= . 
fonant to the ftory. It is very well en- 
~graved. 
From a Ballad of Shake/peare’s Hamlet, At 4to. 
Defigned by R. Wefhall, Efq. R. A. and ene 
graved by Fames Hogg. . 
‘¢ He is dead and gone lady, 
He is dead and gone, ‘ 
At his head a green-grafs turf, _ 
At his heels a ftone.” 
The figure of the fair Ophelia is very 
well conceived, and the fympathy of the 
{urrounding group, admirably imagined 
and delineated with great tate and fecl- 
ing. Rin 
*Mifs Linwood’s Exhibition of pictures 
in needle-work and in wool, is open in 
Hanover-fquare on the ufual terms of one 
fhilling admiffion. We have before no- 
ticed this very curious difplay, the merits: 
of which are fo well known to the public, 
that it is not neceflary to expatiate on 
them. 2 
The very fuperior print engraved by 
Raphael Morghen, from Leonardo da Vin- 
this account may be added, that this pic- 
ture was never capitally engraved at any 
former period, and that ‘fince the time 
Morghen took the copy from which he 
nade the engraving, the picture has been 
painted over and deftroyed, by the inju- 
dicious repairs made by an inferior artift. 
The following very curious account of 
this circumftance was given by Mr. Barry, 
in his third leéture, read at the Royal 
Academy, April 4th, 1785. 
: 66 In the ftronger expreflions alfo, Leo- 
‘nardo feems to have gone greater lengths 
than any cotemporary or fucceeding artift, 
in marking the emotions of the foul in 
the aétion and countenance; his enthu- 
fiat, though great, is always equalled 
by the ccoinefs and folidity of his’ judg- 
ment. Truth and energy go hand in hand 
jn whatever I have feen, that was really 
his: there could not be a more happy ex- 
ample of this union than in the famous 
picture of the Jatt fupper, at Milan. 
There is a print’ of this picture done from 
a drawing by Rubens, The deformities, 
flovenly and precipitate incorreétnefs of 
Rubens’ ftyle of drawing is vifible throughs 
out ; it gives but a lame idea of Vinci’s 
work. The fmall copy at St. Germain 
Auxerrois is much better, though greatly 
wanting in the fpirit and decifion of the 
original; all that happy finefie in the 
diverfity of character, expreflive agitation, 
and tender fentiment, appear to have been 
he) 
