reason to hope for good fruits from the budding sapling. We rejoice to find our prognostics verified-the money diggers is many degrees superior to the earlier at tempt, and comes very near to being a good picture. The negro, scrambling out of the hole, is extremely well done; the light is ably managed, and the general effect is got up so skilfully as to give us the most pleasing anticipations for the future: we do not however like the red capped buccaneer, his visage is rather grotesque than hideous! No. 31. Landscape.-R. Hoyle. Altogether too pale, and the foreground so light as to destroy the perspective. No. 32. Miniature of a Gentleman.J. W. Badger. No. 32. Miniature of a Lady.-J. W. Badger. Both rather deficient in character and originality of style. No. 34. Miniature of a Gentleman.A. L. De Rose. Somewhat better than the above, but not approaching to excellence. No. 35. Miniature of a Gentleman.-A. Robertson. A very clever painting-this is the true style of a miniature, and worthy the imitation of all who pursue this difficult line of portraiture. No. 36. Miniature of a Gentleman.Miss Ann Hall. Very nearly being a good painting. Miss Hall should persevere, and observe the method of composition used by such artists as Robertson, and success will attend her. No. 37. Frame containing Miniature Specimens.-T. W. Sturgeon. Prettily finished-but the resemblance of the centre piece (a copy from Sir T. Lawrence's celebrated likeness of Miss Croker) is not sufficiently strong to the original, to justify very sanguine expectations of correct representations. No. 38. Narcissus.-Lent by Mr. Brett. Flesh too red. No. 39. Miniature of a Lady.-Miss Ann Hall. Better than No. 36, which we noticed above. No. 40. Portraits, Lady and Children.G. Cooke. A bad Picture-decidedly bad in drawing, coloring, and anatomy,-the bigger child's head is as big as the mother's; and the little one's leg is joined-Lord knows how-to the body; and yet Mr. Cooke can draw well, aye and paint well too, at times!-To wit, No. 86-an Italian Monk preaching to Banditti, of which more anon. No. 41. Susannah and the Elders. Col. Trumbull. Col. Trumbull is decidedly the best anatomist of American artists; his style is too well known both here and in England, where his works have commanded a large price, to need any notice of ours. But we would recommend to all, who would paint well, to learn first to draw well; whether from the human model, or from casts of the antique. We assure them that their time and labor will not be lost, to whatever school they may direct their views. Half the portraits in the room are deformed by faulty proportions; and the hands-in particular-in many cases, are as like lobster's claws, as human members! No. 42. Portrait of a Gentleman.-F. R. Spencer. Possessing the same merits and the same defects with all his other works. No. 43. Italian Landscape-Anon.-Lent by H. W. M'Cracken, Esq. Too blue: and too blue in places where it should not be blue at all. If the critique to which we alluded, concerning the Valley of Wyoming, had related to this landscape, it would have been just! No. 44. Cattle Piece.-Rosa di Tivoli. Very clever, and bearing strong marks of being an original. The peep of landscape under the bull's head is very sweet, and the goats are nature. No. 45. Landscape.-Lent by Mr. J. Parker.-R. W. Weir. Is not equal to the high repute of the artist, but we believe it to be a juvenile production. No. 46. Landscape and Figures (after Morland.)-Lent by Mr. Torbos. Composition very good-as all Morland's must be-but the coloring cold, and not well done. No. 47. Sea Beach, with a fresh breeze. -T. Birch. A very clever sea piece indeed---though hardly a fresh breeze. The craft and shipping very good, except the two row boats in front, which are rather wooden; but the sea and sky excellent, and the tout ensemble very pleasing, and better than the calm mentioned before. No. 48. Portrait of a Gentleman.---F. R. Spencer. No. 49. Portrait of a Gentleman.---do. No. 50. Study from Life.---Miss Jane Stuart. A clever study---the brow is too perpendicular, and the crown of the head too flat; in other respects it is a pretty model enough---the draperies perhaps a little too wild in their flow, but well conceived. To be continued. NATIONAL ACADEMY OF DESIGN.The eighth annual exhibition of the National Academy of Design is now open, and we take some shame to ourselves that we have not sooner noticed the many meritorious performances contained there. The multiplicity of engagements incidental to a young publication must plead our apology, especially when we avow that the purpose has only been procrastinated,--not neglected. The exhibition room of this respectable collection presents a coup d'œil at the very entrance, and it requires a little vacant staring before the attention can address itself to the serious purpose of examination, which latter however well repays the trou No. 33. The Calabrian Pifferari, by the same hand, is a good little picture, and expressive of customs at the shrine of a saint, but it does not contain anything of a striking nature; the drawing and the coloring are both in good taste. No. 3. Is a portrait, by Durand; soft, mellow, and expressive, it has the elasticity and animation of life, and is a highly finished performance. ble. There are in this small gallery stiffness of the lower drapery of the fesmall as compared with the academical male. exhibitions of Europe---many chefs d'œuvres of which the European galleries would be proud; the pictures by the president for instance, those by Cole, Richardson, Mount, Durand, Inman, Twibill, and some others are, with trifling exceptions, calculated to do honor to the arts under any circumstances, and evince a classic and cultivated taste which gives fair proImise of distinguished eminence in this department of the fine arts. With great beauties there are also combined qualities of a more ambiguous nature; that is to say, qualities which may enhance or depreciate the value of the performance, according to the degree in which they are used; for instance, the style of the coloring,---and the mode of filling up;---when these particulars are of a peculiar description in the artist, and are strongly and uniformly discoverable, they come under the objectionable term mannerism. From this fault few artists in any part of the world are totally exempt; indeed when the genius is original, and the powers of the imagination genuine, they will naturally develope themselves in an uniform manner, but this is the very thing to be guarded against; the peculiarity is rather a beauty than a fault; it is the redundancy of it, or the slavish adherence to it, that is the deteriorating quality; and by it the artist of fire and genius reduces himself towards the level of the mere dauber who having only one set of rules for every performance, makes his pictures only the broken parts of one panorama. But let us examine them somewhat more in detail. The opening little picture, No. 1, by Thompson, is calculated to give a good impression of the gallery, just as an ingenuous countenance is a good letter of introduction. It is good both in conception and coloring, and the clouds of "leaden hue" which help to throw the back ground into obscurity are very well conceived. There another picture, No. 16, by the same hand, of which we cannot speak so favorably. He seems to have had an eye to that mode of coloring adopted by the president in Nos. 2 and 3, but the skies and atmospheric effect in Italy and Switzerland, present different appearances from those of New York Bay, and that which is the effect of warmth and repose in the former case, is but half shading in the other. Indeed we must even object to the president's chiaroscuro in these two pictures, notwithstanding the artificial means used there for bringing them out. No. 30, by Moore, is a very fine conception. It is "the Brigand alarmed." The expression of the wife, with the tint of light on the outline of her figure as she reaches the verge of the cave have a fine effect, and the attitude of the bandit, with his trombone ready for use or defence is well conceived. The accessaries in the back ground are just; and the only defect in the picture--a amall fault--is the There are several good pictures by the Mounts, and among the best we would choose No. 13. Dead fish hanging against a wooden partition, by S. A. Mount. This picture is not only well done, but carefully; the graining of the boards, and the soiled effects of the fish hanging against them are marks of care and consistency, highly necessary to those who would copy na ture." No. 75. A full length portrait of Bishop Onderdonk, by W. S. Mount, is a good picture, but we object to the likeness. If taken recently it is too young, and not sufficiently "filled up" for the bishop. We accord as to its general features, and admire the dignified position and appropriate finish of the drapery, but certainly the artist has done for him, what all who know him will be glad of,---restored him two or three by-gone years. No. 18. A view of the Cascatella of Tivoli, with the Campagna di Roma in the distance. This is by Cole. It is a most excellent picture, the perspective most admirably carried out into the confusion and haze of distance. The landscape elaborately filled in, and presenting a splendid view of the rich, sunny, fertile plains of Italy. The point of sight being an elevation, pours upon the eye a splendid profusion of objects, and the mind seems lost in the magnificent extent of the scene. So far well; but we regret to see that in all the works of this charming artist, his hand is perceptible the moment the eye glances upon his performances. It abounds more with the mannerism we have attempted to describe, than is consistent with the justice he owes himself, or with the pleasure he owes to those who view his pictures. No. 76, a landscape composition, by the same artist, and No. 97, the Fountain of Egeria, evince strongly the mannerism on which we feel obliged to touch. The former of these two besides the peculiar elaboration of filling up, has too many accessorial subjects in it. The canvas is too crowded. In this matter Mr. Cole reminds us of two very distinguished artists in England, who yet fatigued the public taste in the same way, ---Glover and Prout,---and it is no disparagement to any of the three to be thus named together. Mr. Cole has nevertheless shown us, that he is capable of higher and better things, in No. 104, Christ and the Woman of Samaria, which is of highly classic conception. The mild dignity of the Savior, the admiration in the expressive countenance of the finely round ed woman, the figures in the back ground, on the Samaritan Road, its gateway, the hills, buildings, all in good keeping, and present a grand coup d'oeil, which is neither too confused nor too stiff. It is an excellent painting. No. 40. A full length portrait of J. H. Payne, by Twibill, is as capital a specimen of miniature portrait as is to be found in the whole collection. The attitude, the coloring, the smile, the whole expression reminds us most strongly of the distinguished individual himself, and cannot fail of being considered a valuable paint ing. No. 61. Portrait of a Gentleman, by Pingret, we are induced to notice, next to the above, as we consider it to be next in estimation, in this line of portrait painting. There is an ease in the position, as well as an air of verisimilitude in the countenance, that even to an absolute stranger will give assurance of a likeness,-added to which, the piece is carefully finished, a point of care, which, in small pictures especially, should never be neglected. No. 31. Metamora. We should do wrong, notwithstanding the excursive form of our remarks, if we were longer to delay the examination of this picture, by Agate. It is the most prominent in the room, both in size and singularity; and at this particular juncture, when the public attention has been called towards the Indian Chiefs, who lately visited our city, the Metamora has naturally drawn a considerable attraction. The figure is well drawn, well colored, possesses great majesty, has all the attributes of strength and command,-but we cannot help thinking, that the Indian character of countenance is wanting. The face, with the exception of the complexion, is decidedly European. Were it not for this, we should have no hesitation in calling it an excellent representation of an Indian Chief by a masterly hand. No. 26. The Plague of Thunder and Lightning, by Miller. We are under the painful necessity of expressing a very qualified approbation upon this picture and another (No. 35) by the same hand. The grouping we admit to be excellent ;-the dismay of the various bodies of Egyptians at the terrible display of Almighty power; the upturned heads of some, and the hidden faces of others, according to the emotion which might be presumed to actuate them, the hasty prostration of the multitude at the feet of their colossal deity,-the horseman struck by lightning, on the left of the foreground, are all well conceived; -the architecture is also in good keeping with the scene;-but there is a dimness throughout, that does not harmonize with the subject; it is not even relieved by the "fire running upon the ground," nor even by the lightning flash itself. The only piece of physical effect is the dim glare of fire breaking out in the back ground. The figure of Moses is too melo-dramatic, and rather represents the talismanic effects of an enchanter, than the minister of an of fended Deity. No. 35. Earthquake,-the destruction of Sodom, by the same artist. Mr. Miller has here evidently miscalculated his strength. He has given us yawning gulphs, and falling towers, but he has assuredly not considered the laws of gravitation in the way he has caused some of the masses to fall; he has given us despairing figures, who cling to-nothing, or who climb tonowhere; but in the midst of his chaos the moral sublime is wanting; his "fire from the Lord out of heaven," fails of effect, as entirely as the lightning in No. 26, and this picture like the last is dim in its coloring. It is but fair, however, to observe, that there are in both considerable marks of genius and of original conception, which may hereafter break out with true grandeur and deserved eminence. No. 88. Dryburgh Abbey, the burial place of Sir Walter Scott, by Richardson, is a beautiful morceau; the artist has managed to make the abbey itself prominent, without being too obtrusive on the canvas, by placing it near the centre, and in good relief, and has been altogether very happy in catching the true Scottish atmosphere; the scenery itself is not of that bold, grand description, which characterizes the Western Highlands, but what it wants in grandeur it makes up in beauty, and recent events have hallowed it in all sensible hearts. No. 96. View from Froster Hill, Gloucestershire, England, by the same artist, is still more beautiful than the foregoingthe two are intended as companions. Nothing can surpass the extent and richness of this scene, which the artist has executed in the most chaste and skilful manner,— no gaudy tints, but delicate grays are the chief colors, and there is a soft haziness that is very impressive to the imagination. The two are in truth, the finest pieces of landscape in the whole exhibition. No. 60. Landscape, by Weir. Whilst on the subject of landscapes we should be doing injustice both to the distinguished Artist who painted this piece, and to our own judgment, if we were to postpone it. Mr. Weir has long had a just celebrity in works of this kind, and upon the present occasion he well vindicates the character he has obtained; it is faithful to nature, delicate and chaste, and must needs still further increase his reputation. No. 83. Boonton Falls, New-Jersey, by Durand. This is an exquisite piece of nature; it is in the highest degree fresh and vivid: the foliage has obtained a particularly careful finish, and the white volume of water falls in such a manner that we would almost pronounce it cooling and refreshing to the eye. The Professors in this Academy by-the-way, appear to have studied landscape with great success; the best paintings in the exhibition, with one or two exceptions, are of this nature. No. 127. Marine View, by Birch. We have now to turn to another department of art: one on which so many have worked their own fame more effectually than that of the vessel they have attempted to de scribe; one in fact on which too many are liable to seek for materials in their own fancy, instead of viewing them in sublime reality. But the latter we would suspect to have been the case with Mr. Birch. His brig in distress is so faithfully portrayed, that we could almost imagine him to have been one of those in the boat which he exhibits leaving the vessel for the shore. The brig herself is very fairly represented in a state of distress-part of her masts are gone, her maintopsail shivered into ribbons, and flying out of the bolt-rope, is highly picturesque; a boat "freighted" with distressed souls is laboring for the shore, and in the hazy back ground are rocks on which the surf beats high. The white caps on the tops of the waves in strong relief to the leaden or black sky which frowns above it, and the whole is a remarkably fine picture of a shipwreck. Among the landscapes we omitted to name a very fine one, No. 145, by Miller, which is well filled in, and the foliage most elaborately and tastefully finished-the water in the back ground looks brilliant and clear, and the general effect very delightful. We have but leisure to remark two or three Portraits at present, and must resume our examination in the next number; we cannot, however, pass No. 110. Portrait of a Lady, by Ingham, which is chaste and spirited, we venture also to pronounce it a good likeness. No. 133. Portrait of J. Audubon, Esq. Painter and Naturalist, by Inman :-In this portrait the artist has been so happy as to throw mind, decidedly, into the countenance of his eminent subject;-the upturned eyes, the loosened drapery of the neck, the mouth just opened, are all appropriate, and give us a lively idea not only of the face but of the contemplations of the philosopher and artist. No. 208. Portrait of Chief Justice Marshall,-also by Inman. We have reserved this for the close of the present number, being desirous, in humble imitation of the Phoenix, of dying in a blaze. This portrait of the learned and amiable biographer of the great Washington is a chef d'ævre. The venerable lawyer is seated in an easy chair, his hand resting on a book which is placed on his knee, his thin gray locks, and his attenuated but calm and contemplative visage are turned towards the spectator, his deep set eyes, under his bushy eyebrows, give tokens of intense thought, but there is an air of philanthropy and benevolence about him which rivets the attention. We regret that this beautiful picture should have been hung so high, as it is hurtful to look so long as the anxious wishes would impel us. The engraving in line by Durand, which graces the third number of the National Portrait Gallery of distinguished Americans, is from this painting, and its accuracy as compared with the original, entitles the latter artist to the thanks of the community, as well as to a high rank in the list of native artists. NEW PUBLICATIONS. BIBLIOTHECA CLASSICA, by J. Lem priere, D. D., a new edition-enlarged, remodeled, and extensively improved, by CHARLES ANTHON, L. L. D.; Jay Professor of the Greek and Latin Languages, Columbia College, New York-2 vol. 8vo. pp. 1635. G. & C. & H. Carvill.-This book, which has just been issued from the Press, reached us too late for more than a brief notice of its publication, and a hearty commendation of what appears to us the production of a literary Hercules, who has not only purified the Augean mire of classical history, but, with consummate skill and transcendent ability given to the youthful student and the man of learning those golden apples of literature which so many thousands find guarded by difficulties more formidable than was even the Dragon of Old. We mean the actual want of the sources of information, which a valuable private library has afforded to the learned Editor; but as it is our attention to treat at large of this work in the next number, and enter fully into its merits, we will only say that the author has, in our opinion, done more to elevate the standard of our literary character, in the eyes of Europe, than any other living writer; and we doubt not that the work in question, if not immediately reprinted, will have an extensive sale in the English market. There are two things connected with it which strike us at first sight as not being exactly to our mind, viz: the difficulty of making it answer as a School book, owing to the two volumes; and again, the retaining that almost exploded Chronological reckoning of 4004 years from the Creation to the coming of the Messiah.-Of these, however, inter cetera, more hereafter. We would wish to see the book not only in the hands of every man engaged in the education of youth, but also in the library of every one claiming the appellation of a scholar. THE COMPLETE WORKS OF SIR WALTER SCOTT, with a Biography and his last Additions and Illustrations, 7 vols. 8vo. New York, Conner & Cooke, 1833.Messrs. Conner & Cooke have completed one volume of this interesting work, the cheapest, we venture to say, and the best executed for the price, that ever appeared in the Union. Of the value of the work itself, it would be impertinent now to speak, the whole world has conspired to raise its character beyond injury from carping critics; it is admitted on all hands to be the most amusing, as well as one of the most instructive publications that ever found its way to the attention under the garb of fiction. The present editors are making their edition a desideratum. It will not only include all that the distinguished bard and wizard has published,with his last corrections, alterations, and improvements,-but also a biographical account of the author, his correspondence, and every thing that relates to so eminent a man, which the power and means of the compilers can bring together of an interesting nature. The work is stereotyped-in fact, nothing but a very extensive sale could repay the publishers, at their low prices-and it is a clean, clear, legible type; -the notes particularly are in a type unusually clear. We consider that Conner & Cooke have done good service to the community, in thus placing within the means of so large a portion, a work, which all should read who have the power. These hitherto volumnious writings are by admirable management thrown into seven octavo volumes (including the life and correspondence) without the elision of a single word from the improved text, and without being either cumbrous or difficult. A PLAIN AND PRACTICAL TREATISE ON THE EPIDEMIC CHOLERA, as it prevailed in the City of New York in the Summer of 1832, &c. &c. by David Meredith Reese, M. D. 8vo. pp. 110. New York; Connor & Cook, 1833.-In these days of terror when the fell monster Cholera is stalking over the world, crying "havock" wherever he appears, it becomes extremely necessary and prudent to give attention to every thing which professes to arrest its progress. Even from mistaken judgment there is always something to be elicited, which may form the foundation for further discovery. Under these considerations rather than from absolute confidence in the opinions of Dr. Reese, we recommend this Treatise to the public notice. He appears to have gone into a grave consideration of its nature and cause, and we confess, much to our own satisfaction; and his reflections on the use of alcohol, or rather of ardent spirits, are judicious, though we fear not effective. But as we dare not positively give our opinion on so important a subject, and on which learned Doctors differ, we will leave the matter, and proceed to the manner of the publication. And here we were about to express disapprobation on account of old associations, but a friend who looked over our shoulder reminded us, that the desire of Dr. Franklin, in typography, was here attempted. The long letters are very considerably shortened, not so much so, however, as to prevent them from being distinct, and it certainly gives the whole an air of compactness which is pleasing to the eye. But though we concede that part of the novelty, we cannot approve of the italic being put in a smaller type, in the middle of the other type-it looks broken and disjointed; however, it has the charm of novelty, and will therefore have its admirers. It is got up very neatly, and does great credit to the publishers. THE BUCCANEER; a Tale by Mrs. S. C. Hall, author of Sketches of Irish Character, &c. in two vols. 8vo. Philadelphia.This Romance came to us, so highly recommended from the other side of the Atlantic, that we took it up with the most sanguine anticipations, and we are happy to say that our expectations, in this in stance, have fallen far short of the excellence of the work. It is decidedly the best novel from the pen of any female writer, that has appeared for years; and is conceived in a spirit worthy of the great characters which are delineated. The plot is well worked up and the story well told. All readers will do well to judge for themselves. THE DRAMA. PARK THEATRE.-The theatrical season is drawing fast to a close. On the 19th inst. Mr. Barry took his Farewell benefit, upon which occasion he mustered all the strength of the stage in New York; among the most distinguished were Mr. and Miss Kemble, Placide, Barnes, Hilson, Sinclair, Jones, Reynoldson, Mrs. Barnes, Miss C. Fisher, and Mrs. Hilson. The principal piece was Katharine and Petruchio, which afforded an admirable display of the powers of the Kembles and Placide. It is an absolute feast to see the Petruchio sustain ed as it was by Mr. K., who to the determined, resolute character of the bridegroom, adds the nonchalance and ease of trick in these two performers that we are the gentleman. There is so little of stage the time the very characters they repredeceived into the notion that they are for sent, and we know not whether to admire the "conquering hero" or the tamed shrew, save that some portion of exultation mixes with our pleasure,-at the submission of the weaker vessel to the proper lords of the creation. Placide was an excellent Grumio, but we must protest against a piece of bad taste exhibited by that gentleman in the flogging scene at Petruchio's tural" in the midst of the confusion, for house; it was most foul and most unnaGrumio to mount on his fellow-servant's back and ride off the stage. This would hardly be tolerated among the lowest class of itinerants, and is highly insulting to the understanding of enlightened citizens. As if that were not enough, Grumio returns upon the stage, and like a victorious cock, dle-doo" in the hearing of his supposed irhe crows his notes of victory "cock-a-dooadvice ought not to be so soon forgotten rascible master. Surely Shakspeare's by actors" and let those that play your clowns do no more than is set down for them." The fact is, it is catering for the coarse vulgar taste of the galleries, and neither should a respectable actor lend himself to it, nor should a manager permit it. Placide was however himself in the first piece, "The Secret ;" the whole of which little prelude was well performed. After the comedy there was a selection of songs, in which it was our misfortune again to hear a really good singer spoil her music. Mrs. Austen always sings below the pitch, and we know not how to attribute a cause to this very great fault, unless it be, indolence. We are aware that we tread upon dangerous ground in presuming to differ from so large a portion of |