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302 J 
fOct. bs . 
MONTHLY RETROSPECT or tne FINE ARTS. 
The Use of ull New Prints, and Communications of Articles of Intelligence, are requested 
under cover to the Care of the Publisher. 
The Right Honourable Sir William Scott, Fudee 
of tke High Court of Admirelty of England, 
and one of bis Majestys most Honourable 
Privy Council. Painted by Fobu LHoppner, 
R.A. Engraved by G. Clint, and publisbed - 
by Boydell and Co, Cheapside, London. 
FENUE style of this portrait is distin- 
guished by that vigour, energy, and. 
eorrect likeness, that always charac- 
terize Mr. Heéppner’s works. The en- 
graving (in mezzotinto) by Clint, is clear 
In its tints; decisive and firm in its out- 
line, and an excellent translation of the 
portrait, from the canvassto the copper. 
Portrait of Guillim Lloyd Wardle, esq. M.P. 
Painted by A.W. Devis, and engraved by 
Dunkarton. hits 
The attitude and general air of this 
portrait, is in an easy commons=place ate 
titude, but it has the merit of being the 
only portrait for which Mr. Wardle has 
sat, and also a great likeness. The mez- 
zotiming is not a very finished or striking 
specimen of the art, it is every where 
too muzzy; the lights not being cleared 
enough, ver the shadows of a sufficient 
depth. 
The New Theatre Royal, Covent-Garden, erected 
1809, from the Designs of Robert Smirke, esq. 
jun. Associate of the Royal Academy of London. 
Two considerations press themselves 
upon the mind, on a view of this grand 
edifice. One of which is its beauties, as 
a monument ofsart ; the other its aporo- 
priation. The aspect of this theatre on 
the outside is Greek, in its grandest and 
most imposing style. The centre of the 
principal front is decorated with a tetra- 
style portico of the Doric, or, a8 it might 
be more emphatically called, the Grecian 
order. Its character is justly kept up 
throughout, in the robust solidity of the 
column, the massy grandeur of the en- 
tablature, and the severe simplicity of 
the whole fagade. In the flanks between 
the portico and the wings, are three 
(comparatively) small openings for win- 
dows, winch are made for convenience 
alone; and not falsely made essentials of 
decora'ion, which would have entirely 
ruined its character; the wings are com- 
posed of ants, supporting an entablature 
of the same proportions, and in the same 
line as the portico, and between the 
gutz are miches; the one in the north 
= 
wing, containing a statue of Comedy, and 
in the south wing, ove of Tragedy. The 
whoie is surmounted by an attic parapet, 
of the height of the apex of the pect- 
ment. In that part of the front which is* 
between the portico and wings, the cor= 
nice has a smaller projection; the tr- 
glyphs in the frieze are omitted ; and a 
long pannel of sculpture, the length of 
the three windows, is, introduced level 
with the bottom of the entablature, and 
a trifle higher than the tema. Here 
again the austere Greek character pre- 
vails ; no foliage is introduced to give a 
false and meretricious ornament; per- 
sonifications of the ancient and modern 
drama, in the finest style of sculpture, - 
contribute to the harmonious effect of 
‘the whole, which evinces at once the | 
vigorous genius of the architect. he 
The interior is composed, according to 
the modern rules for theatsical edifices, 
but more approaching to the circle, than 
any we have hitherto seen ; yet it is. well 
proportioned, both for seeing and hear. 
ing, and presents a handsomer appear- 
ance than either the lyre, toilette-glass, 
or horse-shoe shapes. The Theatre of 
Tornidona, which was built in the 17th 
century by Carlo Fontana, and rebuilt in 
the last century under Clement XII. ap- 
proaches this shape more than any other ; 
its greatest diameter is fifty-six English 
feet, and its smallest fifty-two. The 
fronts of the boxes of Covent-Garden ’ 
Theatre are simple,without mouldings or 
pannels ; the Greek fret surrounds’ the 
lower tier, and foliage of the honey- 
suckle the upper ones. ‘The slips, or 
upper tier of boxes, and the upper gal. — 
lery, are a series of Columbaria, under 
the cieling, which is slightly curved, and. 
painted, to resenthle a dome; these 
boxes are similar to those which, in the 
Theatre Royal of Turin, are called the 
piccionara, or dove-cot. And like that 
Theatre, the two nearest the stage ate 
appropriated to the -persons belonging to 
the establishment. ‘The interior scarcely. 
presents that idea of magnificence, and 
theatrical elegance, that Old Drury did, _ 
for want of height, and for having toe 
much depth in the principal circle of 
boxes; this is much felt in the back 
boxes, usually called the basket; but the, 
decorations are more classically simple 
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