Catharine II. sent him a gold medal as a mark of her esteem; and strangers from all countries visiting Switzerland courted his society, and gave him the most flattering proofs of their respect and admiration. In the height of his reputation he was cut off by the strokė of a palsy, on the 2d of March, 1788, in the 56th year of his age.' The first volume contains The Death of Abel, and a Letter on Landscape Painting addressed to Mr. Fuesslin, author of the Lives of the most celebrated Swiss Painters. This letter, which discovers many indications of a refined taste, gives an account of the course which Gessner had taken, and the means which he had pursued, to acquire some proficiency in the arts of painting and drawing. My natural inclination,' he observes, led me to landscape; and I sought with ardour the means of excelling in this species of design.' After having stated the different masters whom he studied with the view of copying nature with effect, (for a mere imitation of nature, without such previous aid, he represents as insufficient and delusive,) he breaks out into the following animated account of their respective merits: I found in the landscapes of Everdingen, that rural simplicity which pleases, even amid scenes where the greatest variety reigns. In his designs, I found impetuous torrents, craggy rocks overgrown with brush wood and tangled shrubs; and smiling retreats, in which contented poverty has fixed its rural abode. Boldness, and taste, and originality were conspicuous in all his works. Yet 1 did not take him for my only model. Dietrich, I thought, afforded better examples of the manner in which rocks ought to be painted. The pieces he has composed of this kind are of such excellence, that one is ready to pronounce them to be Everdingen's; but to agree, that he has surpassed himself. I admired the dignity of Swanefeld's designs, and the striking effect of his execution. I studied his reflected lights, which fell in so picturesque a manner on the large masses of his shades. The bold genius of Salvator Rosa, astonished and delighted me; and Rubens, charmed by the brilliancy of his colouring, the originality of his compositions, and the bold choice of his subjects. I studied all these masters, I made slight copies from their designs, and thus formed a collection of their best ideas. But the two Poussins and Claud Lorrain at last possessed me entirely. It was in their works, that I found the truly great and beautiful: not a servile imitation of nature, but a selection of all the most simple and beautiful objects she affords. A poetic genius, united in the two Poussins all that is great and noble. They carry us back to those times, for which history, and especially poetry, fill us with veneration. They transport us into those countries, where nature is not wild, but luxuriant; and where, under the happiest climate, every plant acquires its utmost perfection. The buildings which adorn the pictures of these cele brated artists, are in the true style of ancient architecture: and the figures by which they are peopled, have all the grace and dignity of Rav. FEB. 1953. demeanour, K demeanour, which our imaginations, warmed to enthusiasm by the history of their great actions, attributes to the Greeks and Romans. Grace and tranquillity reign throughout all the scenes which the magic pencil of Claud Lorrain has created: the view of his pictures awakens in us that same enthusiasm, that same tranquil but delicious emotion, with which we contemplate a beautiful and extended prospect in nature. His plains are luxuriant without confusion, and variegated without disorder: every object sooths us with the idea of repose and tranquillity. The scene of his landscapes is placed amid a delightful soil, which lavishes on its inhabitants its bounteous and spontaneous gifts; under a sky, ever bright and serene, beneath whose mild influence all things bloom and flourish.' The truth of the following observation is illustrated by the. example of Pope: for it is well known that he "pilfered snug" on many occasions from obscure writers, whose hints and sug gestions he always improved into acknowleged beauties: And here I will mention an advantage which may be sometimes derived from studying the works of an indifferent artist; though I cannot recommend the practice to any except those whose taste is already formed. An indifferent picture will often suggest an idea, which may be heightened and improved to become of value. Thus, in the poems of Ramler, we sometimes meet a thought borrowed from an inferior writer, improved into a striking beauty, by his skill in heightening, and his judgment in applying it. The works of Merian, to whom little justice has been done, contain detached beau ties, selected with the greatest skill from nature, and only disguised by the tame and insipid style of his execution. Give to his trees and grounds the lightness of Waterloo; insert among his rocks, and the whole of his compositions, more variety; and you will see brilliant effects arise, whose splendour and harmony will do honour to genius, and of which the disposition and ground-work are all to be found in Merian.' We conclude our extracts from this pleasing and judicious performance, with quoting the merited praise which the writer has bestowed on Thomson and a poet of his own country. After having remarked the advantages which painting may derive from an intimate acquaintance with poetry, they being truly sister-arts, he exclaims; How many painters would choose their subjects with more taste! how many poets would give more truth, more life, and animation to their descriptions, if the knowlege of these two arts was more frequently united!' I pity (Gessner proceeds to say,) the artist who can read Thomson without emotion, and contemplate, uninspired, the beautiful pictures exhibited in his works. I have found in the writings of this great master, descriptions which might have been copied from the works of the most eminent painters, and which the artist might with case transpose again on the canvass. His pictures are not more beau tiful than they are various; they are sometimes finished with the pastoral simplicity of Berghem, Potter, or Roos3; they sometimes exhibit the grace and amenity of Lorrain, or are characterised by the noble and sublime of Poussin's style, or the wildness and melancholy of Salvator Rosa's. And here let me seize the opportunity of paying a tribute to the memory of a poet, now almost forgotten:-Brockes, who marked out a distinct species of poetry for himself; who followed nature in her most minute details; whose mind was exquisitely sensible to every natural beauty and charm, and whose fine feelings were wrought upon by the most trifling circumstances. A plant, covered with dew, and illuminated by a bright ray of the sun, was sufficient to inspire him; his descriptions are often too artful, and too laboured; but his works in general are a rich magazine of ideas and images borrowed from nature, and copied by a most faithful pencil. They remind us of objects and of circumstances which we have ourselves remarked, and which we recognise again with increased pleasure.' The second volume contains the Idyls, and some of Gessner's Miscellaneous Pieces. On former occasions*, we noticed the Idyls; which are so generally known and admired, that we shall detain our readers no longer than while we transcribe the character given of them by Dr. Blair: "Of all the moderns, Gessner, a poet of Switzerland, has been the most successful in his pastoral compositions. He has introduced into his Idyls (as he entitles them) many new ideas. His rural scenery is often striking, and his descriptions lively. He presents pastoral life to us with all the embellishments of which it is susceptible, but without any excess of refinement.-What forms the chief merit of this poet, is, that he wrote to the heart, and has enriched the subjects of his Idyls with incidents that gave rise to much tender sentiment. Scenes of domestic felicity are beautifully painted. The mutual affection of husbands and wives, of parents and children, of brothers and sisters, as well as of lovers, are displayed in a pleasing and touching manner. Not understanding his language, I can be no judge of the poetry of his style, but in the subject and conduct of his pastorals, he appears to me to have out-done all the moderns.”— The style of Gessner,' observes the translator, on which Dr. Blair declines giving an opinion, appears to me to be pure, easy, and perspicuous, altogether free from those inversions and contortions which are found in the Death of Abel, as translated by Mrs. Collyer, and which give it so forced and unnatural an air. The style of the Idyls particularly is polished with the utmost care, and discovers an elegance, yet simplicity of expression, perfectly suited to the characters and manners which are described. Among the miscellanies, we observe The First Navigator, which the present translator considers as one of the most beau tiful of Gessner's productions.-Daphnis, Evander and Alcimna, Erastus, the Deluge, and the Wish, occupy the third volume. Of the first we gave an account from a French translation by Mr. Hubner in our 30th volume. Evander and Alcimna, and Erastus, are two pleasing dramatic performances, in which the author displays the same affection for rural scenery, and. the same pleasure in describing domestic happiness, which characterize his other works. The Deluge contains much pathos; and the description with which it abounds is grand. and striking. In the Wish, we have a portrait of the mind of the author, who was not less amiable for his virtues than respectable for his genius. A retired situation in the country, remote from the tumults and the vices of the town, where a taste for study and reflection might be cultivated, and where a fondness for the beauties of nature might be indulged, is the moderate wish of this pleasing and instructive writer. The translation of these pieces is easy and elegant; the volumes are handsomely and correctly printed; and they are ornamented with several designs from the pencil of Stothard. To the first volume, is prefixed also a portrait of the author. S.R Auctore Thomâ Mar- ART. III. Entomologia Britannica, sistens Insecta Britannia Indigena, אן N the list of unequivocal patriots, we may rank the peaceful and persevering few, who employ their leisure and talents in ascertaining the natural productions of their country, and in pointing to the primary materials of the industry, wealth, and improvement of a state. With respect to our own island, much has been already effected in the mining art; though many subterraneous regions, rich, perhaps, in useful fossil substances, remain to be explored:-the labours of the late Dr. Withering, and the more recent and actual exertions of the discerning and indefatigable president of the Linnéan Society, have been successfully directed to our indigenous, plants ;while Pennant and other distinguished naturalists have arranged and described most of our known quadrupeds, birds, and fishes. The smaller animals, also, though less immediately subservient to the purposes of human life, are well worthy of a distinct and accurate arrangement. A knowlege of their history will best enable us to effect the multiplication or diminuLion of their numbers, according as they may contribute to our accommodation or annoyance. In many species, observation may detect properties and uses hitherto unknown; and, in all, we we may trace that astonishing intelligence and that unwearied care, which extend from the first order of created beings to the meanest insect which flutters for an hour. We regard a scientific view of British entomology as a public benefit, and a valuable substitute for the faint sketches of Ray, Berkenhout, and Forster. Convinced that the intended term of three years would be very inadequate to the completion of his design, Mr. Marsham fortunately embraced the resolution. of discussing one order before he entered on another; and he now presents us with a systematic catalogue of the Coleopterous insects, or such as have their wings covered with two cases, and divided by a longitudinal suture. For obvious reasons (stated in the preface), the author rejects the Fabrician mode of arrangement, and adds sixteen genera to those laid down by Linné: repay It is with extreme reluctance (he says) that 1 presume to detract from the merits of such truly respectable entomologists as Fathem. bricius and Olivier.-Language, I well know, cannot express the extent of their services, nor the gratitude of naturalists From the various repositories of Europe, they have collected and admirably described such multitudes of insects, that I cannot venture even to compare this humble treatise with their more ample works. I disapprove of their generic marks, chiefly because I conceive them to be unfit for the purposes of the learner; whom I am desirous of alluring to the study of my favourite science by smoothing and adorn ing its paths. On this account, I have not hesitated to adopt several genera instituted by other writers, and even to add to the Linnéan catalogue two of my own formation. If, after all, I have unconsciously fallen into greater errors than those which I was anxious to avoid, Í must earnestly request of the reader to favour a first essay with his indulgence.' Handsome compliments of acknowlegement are presented to Sir Joseph Banks, Dr. Smith, Mr. Kirby, &c.; and Mr. M'Leay's friendly and persevering assistance, is recorded in terms of the warmest gratitude. Though we despair of conveying to our readers, in the com general pass of a few pages, just or precise notions of a work like the present, it may be proper briefly to state the author's plan, to exemplify his mode of procedure, to indicate at least the numerical amount of his labours, and to subjoin some Cursory remarks. The first five pages contain a summary of the generic distributions and characters. The latter, with their subdivisions (if any), again occur at the head of the specific details. These last usually consist of the characters of the species, copious and accurate references to the most approved authorities, the We translate this passage. ordinary |