give the nature of the course, and suggested the expediency of frequent repetitions and recapitulations. Perspective was defined as the art of representing objects upon any flat surface, (such as paper or canvass) as they appear to the eye, or as they would appear when viewed through a pane of glass. The eye being fixed to one point. This was illustrated by means of an apparatus, the representation of objects seen beyond, being traced upon a glass, which tracing served also as an example to point out the difference between the reality and the appearance: perspective being employed to represent the appearance only. Definitions of angles, &c. were followed by those of terms belonging more immediately to perspective. The centre of the picture was described as that point which the old writers called the point of sight.

The horizontal line, vanishing line, vanishing point, distance of the picture, &c. &c. were defined, and the

lecture concluded with directions for preparing the picture for the purpose of perspective representation.

Mr. Wood commenced his second lecture by stating the utility of recapitulation in such a subject as perspective, and then proceeded to the definitions, dwelling particularly upon the horizontal line and distance of the picture, as of the utmost importance to perspective representations. As it had been suggested that the glass of the apparatus could not be conveniently seen from some parts of the theatre, the small apparatus belonging to the publication of Mr. Wood's lectures was fitted up, and passed round. After the different kinds of projection were explained, the theory of perspective became the subject of the lecture, and the method of finding the vanishing lines of planes, and the vanishing points of lines, was elucidated, and it was proved by the a pparatus that the vanishing point of lines perpendicular to the picture was found in the centre of the picture; the vanishing point of lines oblique to the

picture, on one side or other of the centre; and that lines parallel to the picture had no vanishing points upon it.

British Gallery.

No. 56. A mill, with an overshot wheel,

T. Barker. 67. Interior of a cottage. Do. There is a truth and simplicity in Mr. Barker's rustic scenes which cannot fail, at all times, to interest and delight us. Of these pictures, the colouring is uniformly too raw. In the former the landscape prevails, in the latter, the figures: and it is in this latter department that Mr. B. particularly excels. His figures and manner of handling remind us somewhat of Gainsborough. They are both compositions of no ordinary execution.

No. 62. Charles the First demanding, in the House of Commons, the five im peached members. Copley.

The merits of Mr. Copley, as an historical painter of national interesting subjects, are too well known to need commendation here. The present may probably be considered as the finest of his compositions. The costume of the times is attended to with admirable effect -the dresses are rich and picturesque; and what renders the piece of almost inestimable value is, that every countenance appears to be a correct portrait, as far as the most authentic paintings warrant us in concluding. The graceful figure of Charles, and the splendour of his dress, immediately strike the beholder: his face is in profile. This painting measures 11 feet in length, and nearly 9 in height.

No. 78. The Death of James II. Louis XIV, at his bedside, promising to place his son on the throne of England.

Westall.

This is, upon the whole, a picture of considerable merit and effect: the only thing that disturbs the repose of it is, the full-bottomed perriwig of Louis XIV,

1

which had much better have been suspended elsewhere.

No. 83. The Witch sailing to Aleppo.
J. J. Halls.

MR. HALLS has evinced in this picture that there is such a thing as originality of imagination, chastised by judgment. It is, in truth, a very characteristic composition: the Witch ranks among the very first of her creation upon canvass; and she sails, in her flimsy bark, with all the sullen majesty, and malicious intention, of her species.

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.