neleschi, Andrea Verrochio, and Dominic Ghirlandaio, were the most celebrated. The advance of modern art was also greatly accelerated by the progressive discovery of those miraculous productions of ancient Greek art, which had been buried for many ages, and which were by degrees restored from the bowels of the earth. At length, in the year 1474, was born at Florence, Michael Angelo Buonarotti. He was warmly patronized by Lorenzo de Medicis, who made him his companion, gave him an apartment in his palace, and allowed him a pension. In return, Michael Angelo adorned Florence with many works of inimitable beauty, energy, and grandeur. Subsequently, Julius II. sent for him to Rome, where he was liberally employed both by that Pope and by his illustrious successor, Leo X. Among the Sculptors of merit who succeed ed Michael Angelo, John of Bologna was one of the most eminent. His groups are remarkable for their good composition, and the fine undulation of their lines. Benvenuto Cellini also distinguished himself very much at Florence. But soon after his time, the Florentine school sunk into insipidity.

During the papacy of Urban the VIIIth. Bernini, who was origi nally a painter and educated in the Lombard school, executed a number of figures and groups in sculpture. Sometimes manifesting considerable powers of invention, his style, nevertheless, was very depraved and flimsy, in consequence of his departure from the severe simplicity which is the true character of sculpture, and of his endeavouring to introduce those minor graces, which painting alone can attempt with advantage. The disciples of Bernini pushed his defects to excess; and sculpture was at a very low ebb in Italy, until about the middle of the last century, when the Italian sculp tors again applied themselves to the study of nature, and of the principles of ancient art. Canova, who was born in 1757, was chiefly in strumental in this second revival. He was, beyond all comparison, the greatest sculptor that Italy had for many years produced, and has left number of works, which, on the Continent, are considered even to

rival the antique. But, with the most unfeigned admiration of Canova's genius, it may, perhaps, be permitted us to say, that there is, occasionally, in his compositionswe will not use so coarse a word as affectation, but an absence of that perfect simplicity and purity which constitute the highest charm of sculpture.

France derived the greatest part of her knowledge of the Fine Arts from Italy. In the reign of Francis the First, Leonardo da Vinci, Benvenuto Cellini, and Primaticcio, established in that country a School of Painting, Sculpture, and Architecture. Soon after that period, the French sculptors Pilon, Cousin, and John Goujon, distinguished themselves very much, especially by their bas reliefs; and from their time a respectable School of Sculpture has been maintained in France.

To Italy Spain also owes whatever has been atchieved in that country, in Sculpture as well as in Painting.

In Germany, Sculpture has not been wholly neglected. One of the most extraordinary and magnificent specimens of sepulchral sculpture, in the world, is the monument of the Emperor Maximilian, father of Charles the Vth. in the Church of St. Anthony, at Inspruck, by Alexander Collins, of Mechlin.

England originally drew from her Roman conquerors her scanty knowledge of the arts, which she subsequently improved by her communication with Italy. Down to the period of the Reformation, the English sculptors equalled, in point of talent and acquirement, their continental contemporaries, of which a number of proofs still exist, and no where more unequivocally than in the remarkably fine sculpture which decorates Henry the Seventh's chapel in Westminster Abbey. Unhappily, the Reformation, however conducive to the interests of true religion, was most destructive of the Fine Arts. The slenderness of the encouragement given to sculp ture having damped the exertions of native artists, their place was supplied by foreigners. Of those, the most celebrated were Cibber, Roubilliac, and Scheemacher; none of whom produced any works of

On the last two days of October, the Students of the British Institution having completed their labours for the present season, the public, or at least those who were favoured with tickets, were admitted to see the various studies that had been made from the different works of the old masters, left in the gallery for that purpose. They are very numerous, and, upon the whole, do great credit to the talents and industry of the students, several of whom, (as we observed on a former occasion), are ladies.

Without, however, entering upon the ungracious task of individual criticism, which, indeed, under the circumstances of the case, would scarcely be fair, we may, perhaps, be allowed to make a few observations, which are prompted solely by anxiety, that the evidently good tendency of this part of the plan of the Governors of the British Institution may be rendered as productive of benefit to the young artists as possible.

It does appear to us, then, that many of the students-there are several admirable exceptions, but that many of the students do not exactly aim at that which ought to be one of their principal objects, namely, the acquisition of the mechanical skill exhibited in the works of the great masters placed before them. It does appear to us, that they are too frequently (we again beg leave to guard ourselves from being supposed to say universally), satisfied

with producing something approaching to the general effect of those works; and that they do not look with sufficiently inquisitive eyes into the means by which that effect has been produced.

To us, it seems, that when a young student plants his easil by the side of a fine Titian or Vandyke, he ought to suspend the recollection of every thing, that he conceives he has hitherto learnt. By whatever modern master of ability he may have been instructed, whatever may be the way in which he has been hitherto taught to set his palette, on whatever ground he may have hitherto commenced his pictures, whatever may be the process which he has hitherto pursued, whatever may be the vehicle which he has hitherto used, however much he may have hitherto been accustomed to paint solidly, however much to glaze, however much to scumble, of all this knowledge, and of all these habits, he should, for the time, as much as possible, divest his mind, and endeavour to resolve the plain and exclusive question-" How did Titian or Vandyke do this?" There are only two, and those conjoint modes of ascertaining:-close inspection, and multiplied experiment. Instead of attempting to copy the whole picture in his own established method, which is too often what SirJoshua has happily termed "laborious idleness,” let him fix upan some small part of it, which comprehends all the desirable felicities of tone and execu

tion. Let him make twenty little studies from that part; all with some definite intention; all upon some principle that he may believe he has detected in the original. By degrees, and especially if he carefully notes down as he proceeds the changes that he introduces in his process, he will approach more and more nearly to his object. His mind will not be fatigued by a great deal of useless exertion, (for of the best picture a large portion is utterly useless in the way of instruction), and, by comparing the result of his various essays, he will gradually acquire a knowledge of that, which he goes to the British Gallery to acquire, much more profound and extensive than by any means more imposing in their appearance.

For what is it that a student does go to the British Gallery to acquire? Drawing he learns from the antique, and from the life: Composition,

and Chiaro-scuro from prints. It is colouring, and above all it is execution, that he should try to obtain. We by no means object to slight sketches, serving as memoranda of the general disposition and harmonious arrangement of colours in a fine old picture; but we contend, that the best way to make a young artist colour and execute well, when he comes to paint from nature, is the mode of study which we have taken the liberty to recommend. Nor, we trust, shall we be answered by any affected depreciation of "mechanical skill." The acquisition of mechanical skill in the art of Painting requires great mental power; and we are persuaded, that no artist can ever devote himself advantageously to what we most readily admit are higher purposes, until he has obtained this technical, but valuable facility.

The equestrian statue of his late Majesty, executed by R.Westmacott, Esq., R.A., is elevated on its pedes tal, in London-road, near Liverpool. It is of fine bronze, but of a tint less dark than Nelson's monument of the size of life, and an excellent likeness of the late King.

- is

On the 4th instant, a General Assembly of the Academicians was held at their apartments in Somerset-House, when Mr. Jeffrey Wyatt, Architect, and Mr. George Jones and Mr. H. W. Pickersgill, Painters, were elected Associates of the Royal Academy of Arts.

The new monument to the memory of the late Mr. Fox, executed by Mr. Westmacott, on the north side of Westminster Abbey, has been within these few days opened to the public view, as have the old monuments of Queen Elizabeth, and Mary Queen of Scots, which have lately undergone a thorough repair, and been beautified.

The celebrated Brentford Election Pictures, painted by Hogarth, and the theatrical portraits and dramatic scenes from the correct pencil of Zoffany, by the death of Mrs. Garrick, are to be sold.

Mr. Landseer's two animal pictures, The Alpine Mastiffs, and Ratcatchers, the one exhibited in the British Gallery in 1821, the other at Somerset House last May, are now engraving, and will shortly be ready for publication.

Mr. Lane Fox, who lately purchased a full-length Portrait of the Duke of Wellington, painted by Mr. Douglass Guest, whilst his Grace resided in Paris, has presented it to his Constituents, the Corporation of Beverly.

David's celebrated Picture of the Coronation of the Emperor Bonaparte is now in this country, and will be exhibited to the public in a short time; we believe in the course of the present month.

An extraordinary Picture, painted by Rembrandt, has been recently discovered, and the progress of the discovery is curious. The President of the Royal Academy saw this picture by chance, with a great mass of other rubbish and inferior productions, which were preparing for

1

sale by auction. Sir Thomas Law rence's taste was immediately struck with the merits of this picture, even in its dirty and mutilated condition; he attended the sale, and the ham mer was on the point of ratifying Sir Thomas as the purchaser for four guineas, when a lynx-eyed dealer suddenly contended for the prize, and was the eventual purchaser for two hundred guineas. He took home the picture, had it cleaned and newly mounted, and in the first instance offered it for sale to his tasteful competitor, whose

property it now is, for seven hundred guineas. The picture is said to be the finest ever painted by Rem brandt, and worth seven thousand pounds. The subject relates to Joseph and Potiphar's Wife.

CANOVA. A portrait of this la mented Artist was painted by Mr. Jackson, R.A., during his visit to Rome, with Mr. Chantry, R.A., at the desire of the latter.An Engraving from this Portrait decorates the present Number of this Maga zine.

A NEW Melo-drama, in three Acts, taken from the French, has been produced at this theatre, since our last account. It is called, The Two Galley Slaves; but as we can say nothing favourable of it, we will pass it over in silence.

The comedy of The Provoked Husband has been performed. It is a well-written play, but, though not destitute of sallies of wit and plea sant exhibitions of humour, is, upon the whole, very sententious and very tiresome. The comedy was well per formed: Mr. Elliston appeared as Lord Toumley. The head of the Wrongheads was represented by Dowton with great humour.-Munden sustained the character of honest John Moody; and his perform ance was distinguished by that rich vein of humour, which is peculiarly his own. Mrs. Davision was in the character of Lady Townley, and in her early scenes was as volatile as levity could wish; and in the scene that terminates her folly, she was as impressive as virtue could desire. Mrs. W. West supported the charac ter of Lady Grace with considerable ability, proving, that good-natured smiles and friendly laughter were not unbecoming the simple dignity of the character. 10000

1

Mr. Kean is returned to the Me tropolis, and appeared, for the first time this season, in the character of

Richard the Third. The enthusiasm of his reception was extremely great. Mr. Kean's performance of this character was as powerful as ever; and the improvement of the theatre, with respect to hearing, operated much to the advantage of such a performer. -As Mr. Kean has been the best support of this theatre in seasons of adversity, we hail him now as its brightest ornament in prosperity.

Mr. Kean has also performed Othello, and of course, attracted a crowded audience. This, unques tionably, is his master-pieceit stands perfectly isolated, unequal led, and unrivalled. Othello is the creature of circumstances; and as these circumstances vary, his emo tions also change. He who personates the Moor has to trace, through all their fearful mazes, the most violent passions by which the human heart can be assailed. Love, suspi cion, jealousy, hatred, horror, grief, and finally, despair, demand pro gressively, their separate and dis tinct expression. Neither is this all; in the principal scenes, the performer is not required merely to describe a single emotion, but to give soul and spirit to a painful and appalling conflict of emotions. Mr. Kean never played the character "more" ably than he did on this occasion; he was in fine voice, and he im parted to the most difficult scenes

all the interest which acute dis crimination, intense feeling, and appropriately varied elocution, could bestow on them. His last scene was pre-eminently beautiful. The character of Iago was sustained by a Mr. Young, from the Liverpool theatre. His performance was received with flattering plaudits, notwithstanding it was, altogether, a very tame and common - place piece of acting.

We must not omit to mention the first appearance of Mr. Young on these boards, in the character of Macbeth; he exhibited in strong but chaste colouring this grand moral picture of human passion and infirmity. Mr. Young was generally received with cordial approbation, and the banquet scene was honoured with three rounds of ap

MISS KELLY.

plause. Mrs. West's Lady Macbeth was more striking than might have been expected from her peculiar turn of mind and feeling, in a character so masculine and terrific. Mr. Cooper as Macduff was very effective, especially in the fine scene, where he is informed of the slaughter of his family.

The Siege of Belgrade has also been performed at this theatre, and Mr. Braham made his first appear ance for the season in the character of The Seraskier. He introduced some popular airs, unconnected with the original piece, which he executed in his usual style. A great deal of applause attended both the entré and the subsequent efforts of this distinguished vocalist. The house was crowded.

We are extremely happy in being able to congratulate the Manager of this Theatre on the acquisition of an actress, who will do honour to the Tragic Drama, and more especially at the present era, when the stage is destitute of actresses capa ble of treading in the higher walk of Tragedy. Miss Kelly is from the Dublin Theatre, and has made her debut on the London boards in the character of Juliet; so often attempted by aspiring debutantes, and so seldom performed! In this instance the excited expectations attendant on a first appearance have been highly gratified. And it is with the greatest satisfaction we enter on the plea sing duty of giving our distant rea ders some idea of this fascinating and accomplished actress. Miss F. L. Kelly is only seventeen years of age, of prepossessing appearance, and of easy and elegant carriage, but her personal attractions are certainly not of the first order. Her person is of the middle size, and perhaps, therefore, more appropriate to the character of Juliet. Her countenance is intelligent, and full of health and animation, but her features are not of that marked character, which is required by the severer parts of deep tragedy, and which admits of the most flexibility and expression. Not having received

any extraordinary portion of personnal charms from nature, Miss Kelly's excellence as an actress, therefore, is the more to be commended, as arising from a fine voice and clear articulation, original conception, vigorous imagination, depth of feeling, cultivated taste, and a certain boldness of genius, that has led her to scorn imitation and trust to her own judgment, which has so happily led her to personify, not merely to enact, the character of the tender Juliet, whose heart and mind are alike absorbed in one all-subduing sentiment. Miss Kelly was particu larly happy in the banquet and balcony scenes, and in the manner in which she received the most empha tic of Romeo's protestations. When informed of Tybalt's death, her acting was extremely affecting; and her parting from Romeo was painfully touching. Throughout the whole representation she exhibits quick and acute sensibility. Miss Kelly exceeds all her predecessors in one respect particularly, instead of exhibiting the character of Juliet. in a studied, reserved, and almost matronly air, which we have been accustomed to witness, she is artless, open, and youthful, placing in a prominent light, with modest confidence, the fond impatience, the querulous pettishness, of a very young girl, for the first time, very deeply