1830s] 
and improvement of this branch of the 
Fine Arts. The first essay is by the pre- 
sident, (Joseph Woods, jun. F.L.S.) on 
modern theories of ‘Faste, and is rather a 
review of Allison, Burke, Price, and 
Knight’s theories, than an original pro- 
ject. The author combats some, and 
argues ably on others, of the ingenious, 
but too fine-drawn, speculations of mo. 
dern theorists. This essay adds consider- 
ably to the general stock on this undefi- 
ned, and perhaps undefinable, feeling; but 
it is not so closely applied to architecture, 
as might have been expected from a pro- 
fessor inthe art. The second essay is 
by Mr. Savage, (vice-president), on 
Bridge-building, and displays much know= 
jedge of the subject, and sound reasoning, 
‘The theories of Dr. Hutton, Mr. Att- 
wood, and the Encyclopzxdists (in Dr. 
Rees’s edition) ate carefully and abl 
examined, and their defects boldly 
pointed out. Mr. Savage, as might be 
expected from a_ practical architect, 
(which Dr, Hutton expressly declares his. 
‘treatise not to be written withthe feel- 
ings of) gives examples as well as pre- 
‘cept; but, as only part of his essay is 
printed in this volume, a close investi- 
gation of the author's principles must be 
deferred till its conclusion, The next and 
dastessay ison Foundations, by Mr. James 
Llmes, (vice-president), in which this 
fundamental branch of architective skill, 
as practised by the greatest architects, 
is brought to the test of practice, and as 
boldly condemned where he considers 
them: erroneous. This is a practice 
that deserves commendation, and should 
be oftener done; for great names often 
countenance great errors. Of the inten- 
tion and contents of this -highly-useful 
essay, Mr. Elmes shall speak for him- 
/Self in the following quotation. “ Having 
thus quoted the opinions of some archi- 
tects, whose practical and theoretical 
‘Knowledge have procured them the just 
«distinction of masters in the science, I 
shall proceed in the first section of the 
following essay, (by way of summary,) to 
‘collect them to a fecus, which I shall 
denominate the Ancient Practice. In 
the second, to narrate my own method 
4n common cases, detailing some diffi- 
‘culties that have occurred, with the 
methods used to overcome them, and the 
event of their success, And in the 
third, a compendium of rules drawn 
‘from the above sources, which I shail 
feall the Modern English Practice of 
‘forming Foundations.” These investiga- 
tions the author. has executed with con. 
Monxtury Maco, No. 206, 
Monthly Retrospect of the Fine Arts. 
443 
siderable ability; and, as the.conclusioris 
are the result of practice, there can be 
no hesitation in recommending it to the 
attention of the profession at large. D. 
The Architectural Antiquities of Great Britain, 
displayed in a Series of Engravings,.with an 
historical and descriptive Account of each Sub- 
ject. _ By Fobn Britton, F.S.A. Part II. 
No. IV. of Vol. I. Longman and Co. 
Taylor, and the Author. 
This is the fourth Number of the third 
volume of this very useful work, both 
to the architect and the antiquary. The 
plans are architecturally faithful, and the 
views at once scientific, useful, and pics 
turesque, This Number contains seven 
engravings, from St. George’s Chapel, 
Windsor, viz. 1. A Viewof Beauchamp’s 
Monument, &c. 2. Fine Specimens 
of Groining, &e. 3. Groinings over the 
ergan screen to the Great Western 
Window. 4. The Great Western Wins. 
dow. 5. Fitzwilliam’s Monument. 6. 
South-west view of the Chapel. 7. In. 
terior View of the North-aisle: which last 
is one of the most beautiful specimens 
of perspective engraving, particularly 
the distance, which has appeared for a 
long time, and reflects great credit on 
Mr. H. Le Keux, the engraver. 
INTELLIGENCE. 
The Arts have sustained another loss 
of an able son, and the Royal Academy | 
of a worthy member, in Mr, Zoffanij, who 
‘¢ shuffled off his mortal coil” in the bee 
ginning of last month. Johann Zoffanij, 
-esq. R.A, (sometimes called Sir Johann 
Zoffanij) portrait and historical painter, 
was born at Frankfort; and arrived in 
England to study the arts, about the 
year 1764, and suffered much from po 
verty and want of encouragement; from 
which state he was rescued by lord Bare 
rington, whose. portrait he painted, 
Shortly after this he visited Italy, -with 
recommendations from his Majesty to the 
grand duke of Tuscany; and while at 
Florence, he painted his celebrated pic. 
ture of the Florence Gallery. He after 
wards returned to’ England, which he 
left for India, where he received much 
encouragement; and has of late lived in 
privacy. The style of Zoffanij’s works, 
are truth of expression, a fine deep tone 
of colour, and high finishing in the de- 
tail, His principal works are portraits of 
dramatic performers of the time of Gare 
rick, King, Sbuter, &c. ; a picture em- 
bracing portraits of all. the members of 
the Royal Academy; a similar one of 
the Royal Family, &c, 
3 On 
