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No. 47. A Holy Family.

S. Drummond. Painted in imitation of the old masters, and reminding us more particularly of Raphael and Andrea del Sarto. The landscape is well managed, and the gravity of the parents admirably contrasted with the tender and playful expression of the child.

No. 52. Christ appearing to Mary Mag

dalen on the morning of bis resurrection.

R. Westall. This is a very fine and interesting picture, and painted in Mr. Westall's best style; though perhaps a rigid critic might observe that the countenance and form of Mary are perhaps a little too youthful for the matured character of Christ. The whole composition is, however, highly creditable to the British School, and to the justly acquired fame of the artist.

Purchased by the Marquis of Stafford.

No. 107. Girl at a Cottage Door.

R. Westall, Few pictures afford more general pleasure than does the present one: the colouring is sober, and the expression of the little female peasant delightful. These are subjects which, when executed in such a style, contribute successfully to the artist's reputation.

Purchased by W. Chamberlayne, Esq.

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 Bary,

THE DIRECTOR.

No. 8. SATURDAY, MARCH 14, 1807.

Nil æquale homini fuit illi : sæpe velut qui
Currebat fugiens hostem, persæpe velut qui
Junonis sacra ferret. Habebat sæpe ducentos
Sæpe decem serdos.

-nil fuit unquam Sic impar sibi.

HORAT. Satir. lib. i. sat. 3.

A most unsettled fellow; he would run
As if he fled a robber or a dun;
And straight as in procession gravely go,
Now with two hundred servants, now with two.
No man's designs like his so disagree,
None lives so contrary to himself as he.

CREECH's Translation.

In my rambles through this vast metropolis, I seldom fail to examine the new books and new prints which are so artfully displayed in the shop windows, to captivate the eye, and unloose the strings of the purse. I consider these

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things, in general, as harmless baits, thrown out to draw the attention of the thousand human beings who are daily hurrying through the streets: but, like a rigid stoic, or hardened veteran in virtù, they seldom make on my mind any permanent impression.

The great stream of human life (which I think Dr. Johnson said was at high tide near Charing Cross) may nevertheless be sometimes successfully diverted by a green label or a coloured print: those who come to gaze only, may retire to reflect—the ignorant may be instructed; or the vicious, who are hastening to the

participation of criminal pleasures, may occasionally receive a check by the delineation of an affecting subject, or by the perusal of an impressive maxim.

It is astonishing upon what a delicate but sure pivot the conscience turns. I recollect the case of a young man, who was anticipating scenes very far from virtuous ones, being suddenly stopped

in his career, by the casual purchase of Richardson's Pamela, and Hogarth's Progress of a Rake. Luckily he had money to buy, and leisure to meditate on, these works; and the next week, which was to have begun in profligacy, commenced with repentance, and ended in virtue.

But the mind receives various instructive lessons from these modern paraphernalia of our shop windows. It was but the other day, that, in walking up one of our most fashionable streets (though I beg leave solemnly to assure my readers that I lay no claim to the character of a fashionable man) my attention was attracted by a print, called • A Beau of 1706 and a Beau of 1806. Above this inscription, appeared two young men ; the one dressed in the flowing peruke, small cocked hat, and rich attire of good Queen Anne's time--the other, in the long pointed cocked hat, cropped hair, and sharp angular dress of the no less excellent King George the Third's time. The artist, I dare say, de

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