62 
Thus far all is well, and the story well 
told; but when Poussin leaves the sacred 
records, and wanders in the heathen my- 
tholegy, by introducing in the same pic- 
ture an allegorical figure of the river-god 
Nilus, ‘none (but the most blind and ob- 
stinate admirers of antiquity) can fail to 
condemn the impropriety and absurdity 
of such an episode, in such a poem, even 
when painted by Poussin. The back- 
ground is one-of those fine combinations 
of architecture and romantic scenery, 
that, right or wrong, so beautifully em- 
bellish the pictures of this master. No- 
thing, however, is characteristic of the 
country and time in this example, but the 
pyramid; and that is not strictly Egyp- 
tian. All its faults, however, weigh but 
as a hair against the grandeur of its com- 
position, and the repose and elegant sim- 
plicity which pervade the whole picture. 
Mr. Fittler has performed his task with 
considerable ability, the beauty and de- 
licacy of his graver has seldom been ex- 
erted with more effect, and were Poussin 
alive, he could not wish for more justice 
than is here rendered to the merit of his 
work, in an equal size. 
3. Hagar and Ishmael, Gen.2), 17. 
ed by Mola ( Pietro Francesco). Engraved. 
by Fitiler. 
The engraver has here had to exercise 
his talent on a more unpromising subject » 
than the last; the picture 1s in itself beau-. 
tiful, but not every where adapted to the 
story. Ishmael appears to be in his last 
moments, and the inquietude of hts mo- 
ther Hagar is well expressed; the scene, 
however, is not appropriate. It is not 
sufficiently like a desert; the dwelling in 
the distance, though a_ considerable 
beauty in the landscape, detracts trom 
the terror of the scene. The engraving 
isin the same style of elegance with the 
foregoing, by the same artist. 
A, St. John the Baptist, Matt.3, v.4 &5. 
Painted by Nicolo Poussin, Engraved by 
&, Neagle. 
This composition has’ a eharacter of 
simplicity truly analogous to the subject ; 
all the parties are principals, there are no 
needless accessaries; each seems busied 
and convinced of the necessity of the di- 
vine rite the Baptist is engaged in, Old 
and young, men, women, and children, 
on foot, on horseback, and by water, 
flock to. the impostant office: and the 
dignity of figure with which St. John is 
invested, is one of the greatest beauties 
in the picture. The knowledge of fine 
Monthly Retrospect of the Fine Arts. 
Paint- 
[Peb. 4, 
forms, of anatomy, composition, expres- 
sion, in short, of all the requisites for a 
great painter of history, is no where more 
fully shewn to be possessed by Poussin, 
than in this picture. The engraving is by 
Neagle, and he has proved himself to be 
no mean proficient in his art by this spe- 
cimen, which is very creditable to the 
British school of engraving ; though, if the 
artist would make use of finer strokes, 
and more delicacy in the figures of such 
small prints, the effect would be much 
improved. The fore-ground is well han- 
dled; the groupe, at the foot of the horse, 
may be considered to be the best. — 
5. The Entombing of Christ, Matt. 28, v.60. — 
Painted by Crespi. Engraved by Heath. 
_ The composition of this picture is pleas- 
ing, and the light singularly and happily 
managed. The countenances of the se- 
veral figures (the two Marys, Disciples, 
&c. &c.) are expressive of the different 
feelmgs by which they are actuated. 
The tavourite Disciple Gn imitation of 
the artifice of the Greek painter, Timan- 
thes, when he dispaired of shewing the 
full poignancy of grief) is represented 
veiling his face. 
The greatest merit of the engraving is 
m the principal heads, the tomb, and 
rocky scenery; the remaining parts ap- 
pear te have’ been engrayen with less care 
and finishing. 
5, Thomas's Incredulity, John 20, v. 27, 
Painted by Rubens. Engraved by J. Neagle. 
The acknowledged eminence ef Rubens 
im colonring is such, that it may, on some 
occasions, be almost said, that his first 
merit is colouring, his second—coloaring, 
his third—colouring; and when that is 
taken from us, as in a copy of the engra- 
ver, we cannot tail of discovering faults 
that deference to the great abilities ~uf 
Rubens would fain conceal, but 
Veritas nihil veretur nisi abscondi. 
In this picture there is great truth of 
natural expression in the heads of the 
Apostles, and the figure of Jesus suftici- 
ently indicates, from the holes in his 
hands and side, of whom the story is 
told; but the character is not sufficiently 
majestic to indicate the Son of God. 
The drapery is heavy, and the drawing 
micorrect, im the right hand im particular. 
The engraving is in a good style, and 
the forcible manner of Neagle is better 
suited to: subjects of this size, than in the 
foregoing instance. ‘The head and hands. 
of 
4a 
