"A spot of azure in a cloudy sky, "A sunny island in a stormy main." In the year 1809 an unexpected calamity interrupted his repose, and obliged him to open an academy. It was his intention to have instructed a class of young gentlemen in the higher branches of the mathematics and the study of the ancient languages; but in the town where he resided there was already an excellent institution, the Transylvania college, and he found his pupils limited to a few little boys, whom he could only initiate into the rudiments of their education. In 1811 this painful occupation was relieved by an engagement to paint a series of pictures for Mr. Jervas of Baltimore. He once more took up his pencil, and the works he executed for that artist were the last efforts of his expiring genius. The comet that appeared in the same year afforded an opportunity of exercising his mathematical skill. In January, 1812, he published his observations on it, accompanied by a diagram representing its orbit. The flattering approbation which this work received from many scientific gentlemen, encouraged a hope that he would be rewarded with a professorship in one of the eastern colleges: but his exemplary life was soon to be crowned by a higher reward. On the 18th of September he was seized with an imflammation of the lungs, which, though it was not at first thought dangerous, soon settled into a consumption. He languished until the 14th of December, when he tranquilly expired in the sixty-third year of his age. Such was the life of George Beck, a man whose genius and virtues alike entitle him to our admiration and respect. Endowed by nature with a comprehensive mind, he had by a persevering and well-directed industry acquired a great fund of knowledge. But to those abilities he united a refined delicacy of mind, which unfortunately prevented his seeking to occupy the station in society for which his genius and acquirements had so eminently qualified him. Of his talents as a painter it were superfluous to speak: his own pencil has reared his monument and culogy: nor would it be proper in this place to notice his poetical works, as they have not yet been presented to the public. His accomplished widow, however, is now engaged in preparing the manuscripts for publication; and the writer of this sketch cannot forbear to express his hope that they will soon add a posthumous garland to the memory of his departed friend. Baltimore, April 10, 1813. MR. OLDSCHOOL, In presenting you with this trifle, it is perhaps idle to say that it was composed impromptu, by a young lady on hearing of the death of the late Mr. Beck; for if it has merit it will be appreciated, and if otherwise, it cannot be conferred by the circumstance of its being an extemporaneous production. Mourn, Nature mourn thy fondest lover dead! A. M. v. P. FOR THE PORT FOLIO. REVIEW OF THE THIRD ANNUAL EXHIBITION OF THE COLUMBIAN SOCIETY OF ARTISTS AND PENNSYLVANIA ACADEMY OF FINE ARTS. THE progress and rapid improvement of the arts and sciences throughout the United States, are positive proofs of the ta lents and enterprise, as well as the wealth and prosperity of the American nation. When we look at the history of our country from its first settlement to the present period, the mind is filled with wonder and astonishment! In less than two hundred years a new nation has arisen in the western hemisphere, that bids fair to rival in knowledge and in consequence any other ancient or modern. It is foreign from our purpose to examine the various causes that have accelerated the gigantic but solid growth of what has been emphatically termed the new world! and it is equally foreign from our intentions to investigate the tendency of those great political events that have been passing on the great theatre of Europe, for upwards of twenty years past. It may not, however, be improper to remark, that the consequences which have resulted from the mad ambition of the old governments, have contributed much to the advancement of the arts in this country. It has been long contended that our political institutions are not calculated to foster the fine arts, and that the youth of our country, whose genius leads them to pursue the imitative arts, ought to look to foreign countries for instruction and patronage. The experience of the three last annual exhibitions has completely refuted such opinions, and has proved to the entire satisfaction of the admirers of the arts, that our native genius can rise to excellence without the aid of foreign culture. The general diffusion of scientific and literary knowledge throughout our extensive republic, has already disseminated a correct taste for all the polished productions of genius. The industry and enterprise of our citizens are confined to no particular section of the union-prosperity and wealth are generally the conse quences of the exertions of a free and independent people. To facilitate the progress of the fine arts, it was necessary to collect as it were, into a focus the various talents of artists, and Philadelphia from its population, local situation, and public institutions, appeared better fitted than any other city in the union for the permanent establishment of an American School of Arts. To the exertions of the Society of Artists of the United States (now incorporated by the legislature of Pennsylvania, under the title of the "Columbian Society of Artists") we are indebted for the establishment of periodical exhibitions. The happy effects already produced by those exhibitions, have far exceeded our most sanguine expectations. The artists, by comparing their works with each other, and profiting by public opinion, have been able fairly to appreciate the true value of their own productions, have rapidly progressed in improvement, and the public have had a fair opportunity of distinguishing real merit. Where correct morals, good education, solid sense, and unvitiated taste exist, public opinion must always be correct; and we are proud to say, that our city in these respects is second to none. In reviewing the third annual exhibition, we had no other motive than a desire to improve the arts, and to contribute to the utmost of our abilities to promote the advancement of an establishment that promises soon to become of great national importance. We are, however, aware that our observations may give offence to some; but as we are conscious of having taken truth for a basis, we believe that we have nothing to fear from the enlightened and liberal, and the censure of others cannot deter us from the performance of a public duty. The intention of the Society of Artists in establishing periodical exhibitions, was evidently to cultivate a taste for the productions of our own country, to draw talents from obscurity, to remove prejudices respecting foreign productions, and finally to establish a SCHOOL OF OUR OWN. We do not consider it our province to examine the merits or defects of old pictures; but as there are some of this description that have been considered as a part of the present exhibition, we are under the necessity (contrary to our wish) of making some remarks on the subject. PICTURE GALLERY. 1. The martyrdom of St. Lawrence-Titian. 2. St. Francis at his devotions-Francis Rizi. 3. Christ in the temple disputing with the Jewish doctors Paul Veronese. 4. The Virgin with the infant Christ and St. John (in imitation of Reubens)-Pereda. 5. St. Joseph with the infant Christ in his arms School of Vandyke. 6. The reconciliation of Jacob and Esau-Andrew Becarro. 7. Joseph receiving from his brothers, Benjamin and their offerings. The above are pictures selected by an American gentleman, now in Europe, and deposited in the academy, with the view of promoting the advancement of the fine atrs in his native country. Towards the close of the exhibition, a picture was introduced said to be painted by Murrillo, denominated, "Roman charity." We understand it has been purchased for a large sum by the Pennsylvania Academy of Fine Arts. Picture dealers have found it of great importance to attach long stories to old defective pictures. As the story goes, relative to this picture, it was painted at least three hundred years ago, has been in the royal cabinet of Spain for several generations, and at last made a most miraculous escape through a window to the United States. It is impossible for us to form a correct opinion respecting what this picture might have been: the hand of time has pressed heavy upon it; and what is worse, the hands of ignorance have endeavoured to mend it. It has evidently been retouched. The drawing, colouring, and effect, appear to have been good, but are now much obliterated and defaced: the composition is the only part of which we can form a decided opinion. The artist has treated the subject with great delicacy and judgment, and the grouping and general distribution of light and shade is entitled to our unqualified approbation; but its value as a model is at least doubtful, and indeed we think that both artists and the public appreciate much too highly the study of defaced pictures. The object of painting is to represent nature. Is nature to be viewed through the medium of old cracked pictures? we hope not. Are we less endowed with capacity than the Flemish and Dutch artists, who studied from nature alone? The Grecians had no old pictures to study from, and yet they arrived at a degree of excellence in the arts that stands unrivalled. The progress and improvement of the arts in America, must not altogether depend on foreign productions. The principles of |