Land, New Holland. The first book from this press is the History of a fugitive exile, named Michael Howe, who, at the head of twenty-eight other run-aways, disturbed the tranquillity

of the colony for six years. The work derives importance from the singularity of the circumstances, and from the story.

DURING the two years, 1820 and 1821, which we are now to survey, the Fine Arts sustained a severe loss in the death of Benjamin West, President of the Royal Academy, and the first of British historical painters. In the course of it, however, two new artists rose to high distinction. Mr Haydon exhibited his pictures of "Christ's Entry into Jerusalem," and the "Agony in the Garden," performances which bore the stamp of genius; vigorously conceived, and richly coloured; yet the beautiful figures of which were allayed by the mixture of others injudiciously introduced, and characterized by a strained and often false expression. Mr Martin also produced his "Belshazzar's Feast," and "Joshua," pictures holding a sort of intermediate place between landscape and history; and, if they cannot reach the dignity of the latter, displaying at least very brilliant tints, powerful perspective, and a high vein of poetical feeling.

In the exhibition at the Royal Academy, Sir Thomas Laurence's portraits were considered as the most splendid. The subjects were, the Marquis of Londonderry-Mrs H. Baring and children-Sir Humphrey Davy-Lady Louisa Lambton-President West-Viscountess Pollington and child-James Palmer, Esq. Raeburn had a fine portrait of Lord Bute; Phillips excellent ones of Sir Wm.

Grant and D. Ricardo, Esq.; seve ral also by Lane and Lonsdale were deemed well worthy of notice.

Fusali and Northcote had several historical pictures, among which were, by the latter, "The Burial of Edward V. and his brother, the Duke of York;" and "The Marriage of the Duke of York to Lady Anne Mow bray." Mr William Allan of Edinburgh exhibited the "Murder of Archbishop Sharp," which fully sup ported the high reputation he had gained by his "Circassian Captives." Geddes's" Discovery of the Regalis of Scotland," Cooper's "Heroic con duct of Cromwell at Marston Moor," and Etty's "Cleopatra's Arrival in Cilicia," were also noticed. A num ber of other subjects of minor inportance displayed the talents of Bri tish artists.

Besides this exhibition at the Royal Academy, another was made in the rooms of the Royal Institution; another by the Society of Painters in Water-colours. On the removal of the pictures of British artists from the apartment of the Institution, their place was supplied by a collection of the works of the old masters, furnished from several of the principal gal leries in the kingdom, and containing many works of distinguished merit.

Mr Holland and Mr Glover made particular exhibitions of their own pictures. Signor Revelli produced a

large picture of the Queen's Trial. An exhibition of the works of British engravers was made in Soho Square.

In Edinburgh, also, an exhibition this year took place, which was in no little degree honourable to Scottish art. Raeburn, in his portrait of Lord Hopetoun, to mention no other, rivalled anything which the sister kingdom could boast. Watson displayed his usual truth and nature; and his nephew, John Watson, that elegance and delicacy which, for female subjects, and others requiring these qualities, place him perhaps above any other Scottish artist. The portrait of Mr Oswald, by Geddes, was also considered a masterpiece. The miniatures of Mr J. Thomson possessed their usual excellence.

In landscape, the exhibition was very powerful. Nasmyth, in his pictures of Glenco and the Pass of the Cows, gave excellent specimens of his peculiar style. Peter Nasmyth had also landscapes of great merit, though in a mannered style. Andrew Wilson drew peculiar admiration by a sea-port, tinted with the finest hues of Italy. The Rev. J. Thomson, who used to be chiefly admired for the richness of his wooded scenery, displayed, in his " Aberlady Bay," that power of marine painting which he has carried to such perfection. Peter Gibson produced several landscapes, marked by classic dignity and taste. There were also meritorious pieces by J. F. Williams, John Wilson of London, and others.

This exhibition displayed a degree of merit in sculpture, to which Scotland had hitherto been a stranger. Besides two busts by Chantrey, it contained pieces by Joseph and Scoular, two young artists of great promise.

may gratify those who take an interest in the Fine Arts:

Sale of the late Marchioness of Thomond's pictures, by Mr Christie. The pictures of Sir Joshua Reynolds, which belonged to this lady, who was his niece, and well known at her uncle's parties as Miss Palmer, produced unusual and even unexpected prices. Among them we produce the following as an example:

The" Charity" sold for 1500 guineas, a larger sum than has ever been given before for a single picture produced by an Englishman, with the exception of "Christ Healing the Sick," painted by the late Mr West for the British Institution.

The following eleven pictures are the original designs for the compartments of the window of New College, Oxford, which were copied on stained glass by Jarvis; that picture which forms the centre of the window, the subject of which is the Nativity, was the property of the Duke of Rutland, and destroyed by fire at Belvoir Castle:

Charity, purchased by Lord Normanton, for 1500 guineas.

Faith, by ditto, for 400 guineas.
Hope, by ditto, for 650 guineas.
Temperance, by ditto, for 600 gui-

neas.

Justice, by ditto, for 1100 guineas. Fortitude, by ditto, for 700 gui

neas.

Prudence, by ditto, for 350 guineas. Portraits of Sir Joshua Reynolds and Jarvis, as Shepherds at the Nativity, by Earl Fitzwilliam, for 410 guineas.

A Shepherd Boy and Dog, by ditto, for 600 guineas.

Young St John and the Lamb, by Mr Danby, for 175 guineas.

VOL. XIV. PART II.

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shua's copy of the Marlborough Gems for 77 guineas.

Dido on a Funeral Pile, bought by Sir C. Long for the British Institution, for 700 guineas.

Hope nursing Love, by Mr Morrell, of Portland Place, for 215 gui

neas.

A Young Shepherdess, by Colonel Howard, of Grovesnor Square, for 210 guineas.

Portrait of Lady Spenser, by M. Wansey, for 55 guineas.

A whole-length Portrait of the late Earl of Dunmore, for 145 guineas. Portrait of Admiral Lord Rodney, for 115 guineas.

Portrait of the Dutchess of Marlborough, for 90 guineas.

A Girl's Head, with a string of pearls interwoven in her hair, by Lord De Dunstanville, for 42 guineas.

A bold Landscape and Figure, by Mr Cuncliffe, for 400 guineas.

Stuart Wortley purchased the Portrait of Mrs Robinson, in the first day's sale, at a large price.

There were a few bronzes and pictures of the first class by the Old Masters, but as the productions of Sir Joshua's pencil were evidently the great point of attraction, these were considered to obtain but indifferent prices.

The Marriage of St Catherine, painted by Coreggio, to the eloquent and elaborate description of which Mr Christie has devoted two entire pages of his catalogue, and which formerly was valued at 20001., was purchased for the Duke of Northumberland, for 215 guineas.

An original Bust of Sir Joshua Reynolds, in marble, by an Italian artist, and from which Sir Joshua seems to have taken all the portraits of himself, painted late in life, was purchased by Mr Geo. Watson Tayfor, for 160 guineas.

A noble group of Nessus and De

ganin, in bronze, was purchased by Lord Yarmouth for the King, at 75 guineas.

A fine equestrian figure of Marcus Aurelius, in bronze, sold for 35 gui

neas.

A Sleeping Cupid, by Guido, bought by Mr Danby, for 85 guineas.

The Enchantress, by Teniers, sold for 160 guineas.

Cleopatra Dissolving the Pearl, painted by J. Steen, sold for 70 gui

neas.

A fine plaster Bust of Dr Johnson, much esteemed by Sir Joshua Reynolds, was purchased by Mr James Boswell, for 10 guineas.

The amount of the second day's sale exceeded 15,000l.,which is 5000!. more than the highest and most sanguine estimate previously made of their value.

At a meeting held pursuant to advertisment at the public office, in Birmingham, on the 7th of February, 1821, to take into consideration the propriety of forming a society for promoting the cultivation of the fine arts, Samuel Galton, Esq. in the chair,

It was resolved, 1st, That an institution be now established in Birmingham, for the encouragement of Arts and Manufactures, and that it be called "The Birmingham Society of Arts."

2d, That a Museum be formed for the reception of casts and models of the most approved specimens of sculpture, and of all such other works, illustrative of the different branches of art, as the society may have the means of procuring.

3d, That suitable accommodation be provided for students in the fine arts.

4th, That if at any time it shall be deemed expedient, the committee have the power of making arrange ments for public exhibitions of the works of art.

Fifteen gentlemen instantly subscribed 100%. and 50l. each, and about forty others subscribed 21. 2s. as annual subscribers. Sir Robert Lawley agreed to present an extensive collection of casts.

An institution having been formed in Glasgow, for the purpose of promoting the Arts of Drawing, Painting, Sculpture, &c., an Exhibition was opened on Monday, the 6th of August, in which artists resident in the united kingdom may be exhibitors, and works of deceased British artists were also received for exhibition and sale.

The art of engraving on wood has lately been carried into practice with surprising success; and by their lasting means, popular books have received embellishments at a low price, which they must otherwise have been without, except at treble their cost.

MONUMENT TO COMMEMORATE THE VICTORIES OF The British arms IN THE PENINSULA.

This stupendous work of art is now completed, and will shortly be erected in St James's Park, immediately opposite the Horse Guards, where the royal mortar formerly stood.

The colossus is 18 feet high, and is cast in metal from the cannon taken during the war; it is to be placed upon a pedestal of Aberdeen granite, of the height of 12 feet, on which will be engraved an appropriate inscription. The original of this figure is on the Monte Cavallo, one of the seven hills on which Rome was built; it is executed in marble, and supposed to be the work of the celebrated Phidias; the analogy between this and the Elgin marbles certainly justifies the supposition. The figure is in an attitude of defiance, not unlike the Gladiator; in the right hand is a Roman sword, and on the left arm an orbicular shield; a very massive fold of dra

pery falls over the left arm, and behind the body of the statue, on the right side, is placed the cuirass armour, about seven feet high, which is most judiciously introduced for the purpose of balancing the great height of the figure, which is not so muscular as the Hercules of Praxiteles, but it has the fulness of youth and energy. The usual fault in all the Greek statues is also visible herein-the shortness of the neck; but this we know was with the Greek sculptors considered indicative of strength. The muscle on the body is finely heroic. The horse is not introduced, as it has always been considered very inferior to the figure, and from its not being equally colossal, detracts from the merit of the performance. The statue weighs three tons, and is the boldest attempt to rival the ancients in bronze that has yet been made.

The present state of the fine arts in Spain is not so deplorable and degraded as may be thought; there are departments which demand applause, and which, if distinguished in the true point of light, would appear to great advantage. There are painters in that country who display eminent abilities; the names of the following may be given as a partial specimen :Gorga, Lopez, Velasquez, Aparicio, Madrazo, Rivera, for history; Montalvo and Sanchez, for landscapes and sea pieces; Parra and Lacoma, for flowers; Rivellez, Galves, &c. for decorations.

Connoisseurs may well appreciate the knowledge and taste displayed by Gines, Agreda, and Alvarez, in sculpture, each of whom has been in Rome for the sake of instruction and diligent imitation.

In architecture, Spain possesses men of considerable intellectual endowments; such are Perez, Agnado, Velasquez, and Moreno. In the line of engraving, Carmona, Esteve, Amul

leer, and Blanco, deserve particular attention. A degree of concomitant merit may be fairly assigned to Se pulveda and Sagan, as engravers in coins and medals. One individual, Cardano, has recently established a lithographical press; and in his engraving appears to have exhibited several correct copies of hydrographical charts.

Schools of design are met with in all the principal cities, where patriotic societies have been organized. In Madrid there existed one attached to the Academy of Fine Arts, and known by the name of San Fernando. To the praise of extensive usefulness, this has no legitimate claim, being confined, at present, to the imitating of antique models with plaster, to copying models from nature, to preparing colours, and selecting such as the different subjects may require. There is much, however, to commend in the two establishments recently founded by the Academy, and superintended by its directors. These have been justly considered as vehicles of instruction to a number of young students, male and female, to whom ingenious and excellent lessons are delivered alternately, (by professors highly qualified for the task,) in design, in the elements of geometry as applied to design, in perspective and ornamental drawing.

To facilitate the study of painting, government has provided a museum near the promenade of Prado, open to the public once a-week. This valuable acquisition has already received 332 paintings by fifty-five Spanish masters of eminence and authority, from the beginning of the sixteenth century to the present time. It will soon possess a rich and original addition, from a recent order of the King, that all the Spanish originals in the royal palaces of Madrid, Aranjuez, Retiro, and some from royal country

houses, should be removed to the Royal Museum. The law which suppressed the convents, has appropriated to the same depot, a number of fine paintings, belonging to monks of the first class, Benedictines, Bernardines, Hieronymites, Chartreux, Basilians, Premonstratensians, and Trappists. Philip II. had compressed, within many of those convents, and especially in that of the Escurial, many paintings, affording the best models; and his successors built on his substratum, by accumulating, with due discrimination, all the best pieces of the ancient Italian, Flemish, and Spanish schools.

At the head of this museum appears M. Ensevi, painter in miniature to the King, and duly capable of being a guardian of the arts in this asylum. His mind has been expanded by ideas acquired (with his superior abilities) in tours through France, Italy, England, and other countries, where his capacity and industry fitted him for a thorough acquaintance with the ancient schools, and the distinctive characters of each master.

A descriptive catalogue has been printed at Madrid, of the paintings contained in this museum. A little time and experience will evince the efficiency of the plan, and Spain will possess such a property in the arts as could scarcely be expected in the present state of her public affairs.

Europe cannot shew, in any other public establishment, so remarkable a selection as has been already form ed and incorporated in this new arrangement; forty-three by the celebrated Murillo, whose works are now so scarce; forty-four by Velasquez; forty-two by Melendez; twenty-eight by Ribera, surnamed L'Espagnoleto; fifteen by Johannes, and eight by Cano; with those of several other painters of the old Spanish school.

Twenty-four modern paintings me