( 250 ) 
[April 1, 
MONTHLY RETROSPECT OF THE FINE ARTS. 
The Use of ull New Prints, end Communications of Articles of Intelhgence, are requested. 
SEE 
HE superior effect given bythe grand 
productions of nature, to the feeble 
imitations of urf, has been often described 
by good writers, but oftener felt by every 
man of genuine and unvitiated taste; but 
we never saw it exemplified in a manner 
that strack us more forcibly, than in an 
exceedingly beautiful and picturesque 
print, just published by Colnaghi and Co. 
Cockspur-street, and entitled, “ The Na- 
tural Bridge.” Mr. Jefferson, the Pre- 
sident of the United Stites, in his Notes 
on Virginia, the state whichis adorned by 
this singular and surprising production 
of nature, has given a description of it. 
He describes it as the most sublime of 
nature’s works, situated on the ascent of 
a hill, which seems to have been cloven 
through its length by some great convul- 
sion. Its height istwo hundred and thir- 
teen feet, its breadth at bottom about 
fty feet, and at top aboat ninety feet. 
The passage over it is about sixty feet 
wide, and the thickness of the mass at 
the summit of the arch, about forty feet. 
Though the sides of this bridge are pro- 
vided in some parts with a parapet of 
fixed rocks, yet few men have resolution 
to walk te them, and look over into the 
abyss. You involuntarily fall on your 
hands, creep to the parapet, and peep 
over it; but if the view from the top be 
painful and intolerable, that from below 
is delightful in an equal extreme. It is 
impossible for the emotions arising from 
the sublime, to be felt heyond what they 
are here:-—so beautiful an arch,soelevated, 
so light, and springing as it were up to 
heaven, the rapture of the spectator 1s 
really indescribable! The bridge is in 
the county of Rockbridge, to which it has 
given name, affords a publi¢ and commo- 
dious passage over a valley which cannot 
be crossed elsewhere for a considerable 
distance. (See Jeiferson’s Notes on Vir- 
ginia.) This view was taken from the spet 
where it is usually, and to most advan- 
taze, beheld byits visitors; but the point 
of sight being so near an object so ele- 
vated, the receding lines of the perspec- 
tive so rapidly decline, ‘as to give an ap- 
pearance of the ascent of the bridge be- 
ing reversed. It is further to be remark- 
ed, that the stream, at the time the draw 
ing was taken, was swoln by preceding 
rains to a.torrent not often to be seen, 
and that there were two or three trees 
en the Peninsula beneath the arch, 
which, as they obstructed the view of the 
back ground, are omitted. 
Napslecn I Couronne Empereur des Francois 
fe 11 Frimair An. 13, peint par Myris, 
gravué par Fean Viniw 
This print is engraved in the chalk 
manner, and will in time beeome curiou® 
to the antiquary from the ceremony i 
represents; but considered as a work of 
art, it is every way contemptible. Na- 
poleon is habited in the costume of the 
Legion of Honour, and loaded with a pro- 
fusion of finery. 
AA Shipwreck, with Boats endeavouring to save 
the Grew. Painted by F. M. W. Turner, 
R.A. Engraved and published by C. Turners - 
No. 50, Warren-street, Fitzroy Square. 
This print is engraved in mezzotinte, 
from a picture in the possession of Sir 
John Leicester, to whom it is, by per- 
mission, dedicated. The picture is in 
Turner’s grandest and best style, and the 
engraving does ample justice to the merit 
of the original. 
The British Gallery of Pictures, in two Series, 
dedicated to bis Majesty, and under the su- 
perintendance of H. Tresbam, esq. R. A. . 
No, 1. First Series, containing two 
plates, representing tem pictures in the 
Marquis of Stafford’s most splendid col- 
lection. 
On one plate are four historic subjects 
from N. Poussin, and on the other plate, 
eight subjects from. Gas. Poussin, Claude, 
&c. Many of these display great 
-neatness and a degree oftaste; but there 
are too many designs on one plate, they 
would surely have been infinitely better 
if they had been of a larger size. 
No. 1. Second Series, containing the 
Woman taken in Adultery, by Rubens, 
in the collection of Henry Hope, esq. 
Drawn from the ariginal picture by 
Elwins, and engtaved by A. Cardon. 
The original pictuye is extremely fine, 
and Mr. Cardon has been evidently ex- 
tremely solicitous te produee a print 
worthy of the master; and in some re- 
spects it is so, but in others, this. ambi- 
tion, su generally laudable, has in a de- 
gree defeated itself, and injured the effect 
it was intended to heighten, by being too 
laboriously finished, and thus rendered 
too dark: it is lightness, brilliancy, and 
facility, which constitute the charm of 
Rubens’s pencil, 
The 
