That task the Editor has cheerfully undertaken: and, he flatters himself, executed as well as the short time allowed would permit. He further hopes, to the satisfaction of such who are capable of judging of its utility and importance.' "THE lovers of engraved English portraits (a species of modern connoisseurship which appears to have been first started by the late noble EARL of OxFORD, afterwards taken up by Mr. West, Mr. Nicolls, editor of Cromwell's StatePapers, Mr. Ames, &c. and since perfected by the Muse of Strawberry-Hill, the Rev. Wm. Granger, and some few more ingenious collectors) may here look to find a considerable number of singular and scarce heads, and will not be disappointed in their search.' S. P. (An account of the books will appear in the next number.) Royal Institution. For the subject of his fifteenth lecture Mr. CROWE took those dramas which have been composed to ridicule theatrical productions. He shewed how this was done by the contemporaries of Shakspeare. He gave an account of the Poetaster of B. Jonson, and the Satyromastix of Dekker, which was a reply to the former. He remarked upon their grossness and personalities. The Rehearsal was the next subject of the lecturer's notice; when he observed, that its noble author had neglected the fair opportunity which presented itself of censuring the immorality and profaneness of the stage at that period, THE pieces of a similar kind, which succeeded the Rehearsal, were then examined, and their respective merits were stated; and upon a general review of those satirical dramas, the lecturer concluded, that they appeared to have some times improved our theatre in matters of taste, but to have had no higher object. He observed, that this species of satire, like comedy, grew more refined, as it proceeded; and that the latter pieces of this description ridiculed the faults of dramatic writers, without outraging their feelings, by any asperity of language, or breach of good manners, British Gallery. No. 179. Thatching a Mill. James Ward. THIS is a very spirited little picture, touched in a forcible and scientific manner: but too much is attempted within so small a compass. The splendid sunset might have been judiciously omitted. The purple and yellow preponderate too much. No. 186. The Plasterer. J. Cranch. THIS beautiful cabinet picture would have been overlooked by an eye less scientific than the purchaser's. The colouring is in a quiet cool style, and the touch admirable. The scene appears to be a perfect representation of the interior of some shattered but picturesque cottage. Purchased by Captain Ansley. No. 193. A Landscape with Cattle; WHETHER the height at which this painting of Miss Reinagle's is hung, be exclusively the cause of the effect produced, it would be fastidious to inquire: certain it is, that this effect is an excellent one; and that the composition and colouring betray no ordinary powers of execution in the fair artist. No. 198. Inside of a Stable. 209. Old Peasant at a Cottage Door. Both by Westall. THESE are painted as companions, and are very pleasing little cabinet pic tures. The tone of colouring is in a quiet, temperate style, and the touch masterly, THE former purchased by Lady Lucas; the latter by Sir A. Hume, Bart. No. 201. A Scene from Nature, Sussex, J. Hammond, Ir ever there was a picture painted without trick or affectation, this is one. The figures and houses are appropriately grouped, and the colouring is exceed ingly clear and natural. Such scenes as these, bring nature immediately before the eye; and gratify, by their simpli city, more than roaring cataracts, and tempestuous skies. Purchased by Lord Ashbrook, No. 212. View near Canterbury. J. Laporte, A PLEASING well executed little pic ture: the atmosphere is clear, and the effect perfectly natural. No. 297. Moonlight scene, G. Arnold. |