ham. The beneficial effects of the writings of the former, and of the academical institutions of the latter, were particularly illustrated and commended. These 6 lectures concluded Mr. Dibdin's inquiry into the state of English literature during the fourteenth century'.

British Gallery.

THIS admirable institution for the exhibition of paintings by British Artists, opened on Monday last; and the regular influx of visitors proves the decided effect it has produced on the minds of our countrymen*.

It is proposed in the ensuing numbers of The Director, to devote a part for the examination of these productions of British skill and ingenuity. The following

*The present exhibition is rendered particularly interesting by some models of national monuments to the memories of Nelson, Pitt, and Cornwallis.

is only a specimen of the manière d'exercer l'art critique1.

No. 3. Phaeton hurled from the chariot of the sun. J. Ward. THIS is a spirited composition: the horses are drawn in those difficult attitudes, which none but a thorough master of animal painting can successfully encounter. Perhaps Mr. Ward keeps his

eye too much Rubens-the picture

upon

is very gorgeous-and the prostrate position of Phaeton resembles too much that of the vanquished prince of darkness before the Messiah, as described in the 6th book of Paradise Lost. As the innocent, though rash, son of Apollo, Phaeton should preserve dignity even in his fall.

No. 10. Death of Lord Nelson.

S. Drummond. THIS picture is without doubt superior to the larger one painted by the same artist on the same interesting subject. The colouring is good, especially in the foreground-probably the retired part of the

composition is rather too vividly executed. The countenance of our great naval hero is full of expression.

No. 23. The Nun (from Bowles's sonnets.) J. Pocock.

A pleasing well coloured picture. Every thing is in a soft mellow tone, conformably to the tranquillity of the nun's cha

racter.

No. 14. The Cottage Girl.

24. Belisarius.

Opie.

Ditto.

Painted in the strong characteristic manner of this eminent artist.

Published by LONGMAN, HURST, REES, and ORME, Paternoster Row; J. HATCHARD, Bookseller to Her Majesty, 190, Piccadilly; and WILLIAM MILLER, Albemarle Street.

William Savage, Printer, Bedford Bury.

THE DIRECTOR.

No. 5. SATURDAY, FEB. 28, 1807.

Non Poetæ modo, sed opifices etiam post mortem nobilitari volunt-Quid enim Phidias sui similem speciem inclusit in Clypeo Minervæ, cum inscribere non liceret.

CIC. LIB. 1. TUSCUL. QUÆST.

THE very curious and interesting anecdote, related in the above quotation from Cicero, has induced me to run over, with some attention, the long catalogue of antient artists, distinguished for their talents; and I have thought that the detail of a few circumstances concerning the more memorable among them, might have a good effect in animating the zeal of living artists, and be not out of place in The Director.

Y

As it does not seem necessary to pay attention to chronological order, I shall take them for convenience, in that of the alphabet, and begin with

AETIO

This artist painted a most exquisite picture on the subject of the nuptials of Alexander and Roxana. It was exhibited at the public games of Greece, and made such an impression that Proxenides, who was judge on that occasion, gave his daughter to the painter. Lucian is very minute in his description of this picture.

AGATHARCHUS

Was much esteemed by Alcibiades. He painted scenes for the theatre of Athens, under the direction of Æschylus. He also painted animals. The following anecdote is related of him by Plutarch. He was boasting to Zeuxis, that he painted animals with extraordinary celerity. It takes me, replied Zeuxis, a long time to paint them.