ee ee a eS ee 
-eorps,” 
6-0 Retrospect of Domestic Literature—Fine Arts. 
after much.thought and labour, and ata 
considerable expense of time. The pro- 
position cannot be described-without an 
engraving; we therefore reter our readers 
to. the: work; which receives much ad- 
dinonal vaine from the reference to 
existing builk dings, which is. a plain and 
effectual mode nae establishing the truth 
ef what he has advanced. Tt forms a 
considerable addition to our stock of 
mathematical knowledge, and forms an 
-excellent practical work for the architect 
and civil engineer. 
We gladly perceive the “ Artist” re- 
newing his labours; the ist part of the 
new series has just made its appearance, 
consisting of seven numbers. In which 
form (3 parts) it will be this year pub- 
lished, instead of its former, 21 numbers. 
Its design and tendency 1s best explained 
by its title, “ Yhe Artist, a Series of 
Essays on Science and Art. Written by 
Men of eminent professional Abilities, on 
Topics relative to their respective Studies, 
and by other Persons pecuhiarly conversant 
with those Subjects.” Edited by PrincE 
Hoare. In the introductory numbers, 
he informs his reader * that of the little 
circle which originally composed his 
(himself, Messrs. Northcote, 
Hoppner, Cumberland, Cavallo, West, 
Shee, Boaden, Hope, Flaxman, Carlisle, 
Pye, Soane, Holcroft, Opie, Mrs. Inch- 
bald, and Dr. Jenner ;) ‘“* and inthe short 
space of time that has been passed since 
he first appeared before you, two of those 
. {the ingenious aud much lamented Opie, 
and the no less regretted Holcroft,) who 
were either mest immediately active, or 
most deeply interested in his progress, 
have been taken away by the dispensa- 
tion of Providence.” The contributors 
to this part are, first, the Editor on the 
various offices of pamting, which he de- 
fines as follows :— 
1st. The Representation of Nature, or 
of sbvious visible Forms. 
2d. The Expression of the Habits and 
Affections of the Mind. 
3d. The Exhibition of Historical Events 
by the Representation of Facts. 
4th. A mixed Representation of His- 
tory, either by circumstances or fiction. 
5th. The Expression of Poetic Imagery. 
The four first of these he has discussed 
with much voy, in the present part, 
and promises the fifth office of painting 
ni the expression of poetical unagery,shall 
be considered in a future number. 
The second number is filled with a 
pleasantly humourous account of the 
origin of the Fine Arts, | a Mr, Cumber- 
_perlor to a clean one.” 
land, who ridicules the fondness for dirty. 
antiques, armless trunks, emperors with- 
out noses, and gladiators without legs— 
those amateurs and virtuost who admire 
autiques only for their antiquity. “I 
wonder” says Mr. C. “ that they do not _ 
run counter to the canons, and marry 
their grand-mothers. Happy is the 
painter, who has a smoakychimney ; for 
‘by how much bacon is better than fresh . 
pork, by so much is a dirty canvas su- 
The third num- 
ber begins with the Editor’s consider- 
ation, analysis, and somewhat of a re- 
view of a letter from Mr. Elmes, on Mo- 
numental Records, who in it forcibly 
condemns the apathy of the present age 
to the memory of our illustrious country- 
man Sir Christopher Wren. ‘A paper on 
the three principal methods of mental imn- 
provement, Analysis, Analogy, and Ar- 
rangement, from anu nacknowledged con- 
gh a whose ‘ highly sensitive mind, 
(the Editor delica ely hints,) is since 
unhajy ppily estranged from that order of 
which it so strongly felt the beauty.” Mr, 
West’s excellent letter, with some slight - 
oni ean and additions by himself, to 
the Committee of the Northern Society for 
the Encouragement of the Fine Arts, 
and which should be in the hands of every 
lover of British art; with some, reflec- 
tions on the value of the possession of 
Lord Elgia’s exquisite collection of Greek 
marbles, by the Editor; occupy the fifth 
number: and a paper on Uniformity of 
Character of Nature, by Mr. Cavallo, 
the sixth. The seventh contains an ex- 
traordinary- paper by Mr. Northcote, 
called the history of a ‘* Sighted Beau- 
ty,” in which, ina kind of romantic alle- 
gory, he personifies and describes Paint- 
ing. At the beginning of the life of this 
“Slighted Beauty”, we are informed 
“« she is not yet guite dead, and there- 
fore may be recovered and restored to 
her friends.” The fictitious narrator says, 
‘« T have therefore related her casein the 
‘manner ef a narrative, from-the time 
of her birth, to the moment I was sitting 
_-by her bed-side, where she was confined 
by’a sad cold, caught, I believe, by 
wearing wet shoes” The narrative is di=_ 
vided into a sort of chapters,, or para- 
graphs, headed as follows:— 
1st. Of the Education and personal 
Perfections of our Heroine; and she be- 
came the adopted Daughter of a Sove- 
reign Prince. 
2d. How our Heroine grew tired of her 
Father’s Court, and how she set out on 
her Travels to sce.the World. 
-3d. How 
Ji 
