ployed the attention of Mr. Watts and Mr. Chalon. The portrait by Rembrandt, the property of Sir George Beaumont has been copied by Messrs. Sharp, Green, Reynolds, and Chalon: Ostade's view in Holland, by the two Miss Reinagle's and Mr. Mason; and the Jason of Salvator Rosa, by Miss Jackson and Miss Reinagle. Lord Stafford's picture of the Earl of Arundel, by Vandyke, has been copied by Mr. Keir, and Sir Francis Baring's Rembrandt (the offering of the magi) by Mr. Howard and Mr. Jones. Lord Kinnaird's holy family, by Murillo, has been the subject of studies by Mr. P. Stephanoff and Mr. Medland; and Mr. Metcalf's Wouvermans, of studies by Mr. Mason and Mr. Scott, while his Teniers has employed Messrs. Lewis, Celli, and Scott. Mr. James Stephanoff and Mr. Monro have been engaged in studies from the Rev. Mr. Carr's picture by Rubens. The Mola of Mr. Charles Long has been copied by Miss Reinagle, while her younger sister was employed in a copy of the Villa of Mecenas, by Wilson, a picture

which has been also copied by Mr. Rawlinson. The next exhibition for sale of the works of British artists will be opened in the end of January. No productions are intended to be admitted, but what are actually the property of the artist, or of his family.

William Savage, Printer, Bedford Bury.

THE DIRECTOR.

No. 2. SATURDAY, JAN. 31, 1807.

Causa latet, vis est notissima.

OVID.

Obscure the cause, but wonderful its power.

AMONG other communications from correspondents, I have received the following one from a learned and valuable friend; which, without any comment or observation on my part, I submit to the perusal of the reader. It is a letter On the Causes that affected the Progress of Antient Art.

Sir,

task

As in the useful but arduous you have undertaken, you propose

F

to pay particular attention to the present state of the fine arts in this country, to whatever may tend to promote their improvement, and the patronage bestowed upon them, an enquiry into the causes that have affected the progress of the arts of design, in ancient and in modern times,' may probably not be unconnected with your object.

6

IN every department of human enquiry, experience and analogy are the only sure guides: and to know what may be effected by human ingenuity and labour, it is necessary to know what has already been done, and the various means which have been employed. I venture upon this discussion merely as a general enquirer into the history of the human mind. I have no technical skill: none of the peculiar knowledge or tact of the connoisseur: all my observations may have been anticipated; or may be irrelevant. I offer them to you in the most humble manner; trusting, that you will altogether reject them, if they should

appear in your judgment undeserving of public attention.

NOVELTY, curiosity, the enthusiasm connected with objects of admiration before unknown, may all at first view be supposed to have operated in favour of the early sculpture of the Greeks, and the revival of painting in Italy. It might be conceived that a new art was followed with all the ardour of a first love; and that the faculties of inventors were necessarily more vigorous and lively than those of imitators and copyists. But this idea, though true in its general and vague expression, will scarcely coincide with refined views of the progress of the active powers of the mind.--The methods of art are slow in being attained; no one man can bring them to perfection; labour and time, and the industry of several generations, or at least of many minds, are required for the attainment of excellence. Master follows master, the scholar excels his instructor;` the first works are inferior and insignifi