AMERICAN ACADEMY OF FINE ARTS.We cannot permit our first number to go forth into the world, without offering some observations on the state and improvement of the liberal arts in general, and more particularly of painting, in the present age, and in this country. During latter times, much attention has been paid in this city to the cultivation of this department of the arts, and very signal has been the success, which has crowned the efforts of the laborers in the good cause. At this period we have many rising artists, some already standing very deservedly high in public estimation, and others giving by their early indications of genius, a promise of a glorious maturity. At the same time, our countrymen abroad are doing honor to the land of their birth, even while they are leaving the trophies of their talents on the other side of the Atlantic. In England there are no higher names, than those of Newton and Leslie, nor are the works of any native academician sought after with more avidity, than the master-pieces of these two Americans.

Independent of native art, there are now exhibiting more than one collection of ancient masters, which would be considered an addition and an ornament to the most perfect galleries of the old countries; that in Barclay-street alone contains more chefdœuvres, than we any where remember to have seen among the same number of pictures. There is a Rembrandt-we had almost said, his master-piece-the family of De Witt; beside the rich coloring and unfaded hues of which, several fine Sir Joshuas look almost poor and meagre.There is a landscape by Domenichino, which we most particularly recommend to the study of our own young artists, as being so clear and defined in its outline, as to afford the best possible lesson. We have remarked, that in this particular, there is an obvious deficiency in more than one of our most talented rising painters: that there is a woolliness of outline, and an indistinctness in their distances; and for this reason it is, that we would call their attention to this and similar paintings. Nearly the greatest merit which the works of a young painter can possess, is a clean and firm outline; for even if it should at first be carried so far as to become a fault, it is, at the worst, a fault which will naturally wear off by practice, and moreover mellow in the course of years; whereas, the opposite fault, haziness of outline, will become more and more inveterate. There is also a

Claude, not of the very highest order of excellence, but still a lovely picture--a sea-piece of Vandevelde, as cool and refreshing as nature itself. Two good Carlo Dolcis-a Caravaggio, exhibiting a magnificent contrast of strong lights and shadows-and last and least in size, though not in excellence, a St. Sebastian, by Annibal Caracci, unrivalled in drawing, anatomy, and chiaro scuro. Altogether, it is a most desirable collection, whether to be studied by artists, or admired by amateurs. It is of course needless for us to recommend our readers to see this exhibition, as we imagine that there can be few, with any taste for the arts, who have not visited it; and we are convinced that none, who have seen it once, will rest contented, without returning again and again, to gratify their eyes and minds with such rare visions of beauty. Having briefly noticed this fine collection, we cannot pass on to another subject, without commenting slightly on the pictures of Dubufe. It was our fortune to see that of 'The Expulsion from Paradise,' at Somerset House, during a visit to London, some years since.-And we then thought it, as we do now, a striking painting, of a bad school and vitiated taste. We do not mean to refuse high praise to the execution of parts, and some credit for the management of the lights, but altogether, we consider the story ill told, and the style exaggerated and unpleasant. Nor do we here give our own opinion, in contradiction to that of others; such was the feeling of the best judges in Europe, and such we know to be the opinion of many here, among those most capable of forming a correct decision on its merits. With regard to the other picture, we shall speak somewhat more fully. In it we can see nothing of any sort to admire-the execution is not above mediocrity-the anatomy and drawing of both figures is faulty in the extremethe coloring of the male is absurdly effeminate, and out of character with the dark and manly countenance. There is no poetry in the composition, or excellence in the design. It is a mere painting of a man and woman, with nothing whatever to indicate their identity; they might be Jupiter and Juno, or Venus and Anchises, or any other couple on earth, or in heaven. There is no appearance of intellectual enjoyment in the features; none of that high and rapturous felicity, which we might imagine to be the result of unrestrained commune with angels and archangels, and all the company of heaven. The sleeping lion is

the best part of the picture, and the only part which shows a touch of that poetical inspiration, which led the Italian of old to cry out, on the inspection of an unrivalled master-piece

Anch' Io sono pittore.*

We have been perhaps more severe in our observations on this topic, from having heard it whispered-although we can hardly give credit to the report-that these comparatively uninteresting and inferior pictures, have attracted more attention than the matchless gallery in the vicinity of which they are exhibited. We hope this is not the case; and we hope it the more earnestly, as we believe that as much detriment may arise from the study of these, as there would be profit and advantage, in an acquaintance with the others, to our own school of painting.

BISHOP HOBART'S MONUMENT.--There has been recently added to the number of specimens of sculpture, in our city, a remarkably fine monument, dedicated to the memory of the Right Reverend Bishop Hobart, late of this diocess. The subject exhibits the venerable prelate just at the close of his earthly career, languid and exhausted, yet with his dying eyes upturned towards a cross which is in the midst of rays of celestial light, and to which his attention has been drawn by a female figure representing Faith, which points to that source of salvation. There is a holy rapture in the countenance; a faint smile, but of the most perfect benevolence, plays about the mouth, and the tempered light which falls through a stained glass window, irradiating with bright but mellow tints the projecting parts of the features, gives to the whole a most striking and elevating effect. The sculptor, Mr. Hughes, has proved himself to possess not only an extensive knowledge of anatomy, but also great taste and piety, in the design of this subject. There is a refinement of feeling displayed, in the devout and truly Christian-like resignation which the countenance of the dying saint presents, and at the same time there is proof of the accuracy with which Mr. Hughes has observed the physical powers of human nature, in the relaxed state of the muscles, the helpless weakness of body, the halfreclined attitude, in which the figure is placed; all indicative that the departure of a righteous man is at hand. In pointing out the particular excellencies of this fine piece of sculpture, we would say that, next to the finely depictured countenance of the good bishop, the best parts of the execution are the anatomy of the lower limb, with the slippered foot, and of the muscles of the left hand, both of which parts bespeak mere life without energy, and that life fast waning away; the loose robe also, so perfectly natural and easy in its folds. Critics however, are proverbially fastidious, and we dare not profess to be better than our neigh

I also am a painter.

bors. There are in our opinion a few faults in this otherwise capital monument; and

we should ill deserve the character for candor, to which we aspire, if we left them untouched. We think the uplifted arm of the female figure unfeminine, or rather not delicately feminine, the wrist being much too thick the drapery over her head is very heavy, and unfit for that almost spiritual slightness in which the basso relievo figure, herself, is executed. The left arm of the bishop is too stout and somewhat too long. The monument itself is placed too high; which fault, together with the manner in which the light falls upon the countenance, precludes a correct examination of the identity of the features. These are however but as spots in the sun, the whole is a charming performance, highly creditable to the artist, and an honor to our city. We congratulate our fellow-citizens on such an accession to its best ornaments, and we trust that the time is rapidly advancing, when performances of similar merit will be found gracing all our public buildings.

ENGRAVING.

PORTRAIT OF BENJAMIN WEst, late PRESIDENT OF THE ROYAL ACADEMY.We were highly gratified by finding that there is now in progress in the city an engraving, from the superb portrait of Benjamin West, by Sir Thomas Lawrence, which bids fair to equal the finest productions of the European burin. The plate, which was etched and partially engraved in London by an artist of high repute, has been imported in an unfinished state; specimens have been taken off, exhibiting the present situation of the work, and lead us to form a very high estimate of its future excellence. The back ground, draperies, &c. are in a stage of considerable advancement, as also the figure of the venerable president. The face, hands, and other most essential parts are mere blanks, to be filled in here, and we understand that the performance of this delicate and arduous task has been entrusted to Mr. Durand, whose well established fame gives every reason to anticipate that the whole will be finished in a style, corresponding to the labor bestowed on its commencement, and worthy both of the original-decidedly the finest modern painting in this, perhaps in any, country-and of the man, himself so justly an object of pride and respect to his admiring countrymen.

NEW PUBLICATIONS.

MEXICO AND GUATEMALA.-2 vols. 12mo. Lilly, Wait & Co. Boston.-This little work, beautifully got up, is a reprint of part of an extensive work published under the title of "The Modern Traveller," but is complete in itself. It consists of a digest of the travels and observations of the most authentic and judicious writers,-put together very methodically,-containing the greatest possible quantity of information of

these interesting Republics that could be included in so small a compass,-and giving its authorities from time to time where necessary. It is illustrated also by maps and plates, and altogether forms a remarkably useful manual in what relates to the Geography, Statistics, Government, and Commerce of these countries.

HISTORY OF IRELAND, by W. C. Taylor, Esq., with additions by W. Sampson, Esq. Harpers, New-York. 2 vols. 18mo. Family Library, LI. LII.-The history of Ireland, which was originally published as part of "Constable's Miscellany," is now introduced by those judicious and indefatigable friends of literature, the Harpers, into the Family Library. But the publishers have not been contented with merely adopting. They have called in the able assistance of Mr. Sampson, who has added to the original work a most valuable supplement, detailing Irish politics, and Irish views to a much later period. We cannot too much applaud these spirited publishers on the present occasion; not only for the interesting work itself, which forms a most appropriate addition to the series, but also for the judgment they have displayed in selecting as a coadjutor on the occasion, the gentleman whose labors have so much illustrated it.

SAVINGS AND DOINGS AT TREMONT HOUSE.-2 vols. post, 8vo. Allen & Tick nor. Boston. The above is the title of a jeu d'esprit, a light, fanciful, and spirited little work, purporting to be Dialogues held and Narratives related at Tremont House, in Boston. There is a sprightly vein runs through these volumes, and the dialogue generally is well kept up; it has also some striking scenes and tales. The work is well got up, and would form a very agreeable appendage to the drawing room table.

RECORDS OF MY LIFE, by John Taylor, author of Mons. Tonson. 1 vol. 8vo. Harpers. We know not how to recommend this volume in terms sufficiently strong to convey our own sentiments. It contains the memoirs of a man in intimate correspondence with nearly all the most distinguished characters from the middle of the 18th century to the present time. The work abounds in anecdote and incident,--it never flags: it makes us feel ourselves hand and glove with personages whom we have long known by general reputation, but who are here brought to our firesides. It is superior to Boswell, because the author speaks of himself as the subject: and it is equal to Boswell in the graphic delineation of its scenes. We cannot but recommend the work in the strongest manner.

RECOLLECTIONS OF MIRABEAU, AND OF THE TWO FIRST LEGISLATIVE ASSEMBLIES OF FRANCE, by Etienne Dumont of Geneva. 1 vol. 8vo. pp. 399. Philadelphia. Carey and Lea. 1833.-Through the whole department of literary and political anecdote, there is nothing presented to the public eye more replete with interest

The

CASPAR HAUSER.-An account of an individual, kept in a dungeon, separated from all communication with the world, from early childhood to about the age of seventeen, drawn up from legal documents. By Anselm Von Feuerbach, President of one of the Bavarian Courts of Appeal, &c. Translated from the German. 2d edition, 18mo. pp. 178. Boston. Allen & Ticknor. 1833.--The details, of which the above title is a compendium, appeared some years ago in all the newspapers of Europe, conveying vague, and frequently exaggerated accounts of this outrage upon humanity,-this barbarous and diabolical cruelty. At length, however, we arrive at the authentic accounts, from the most undoubted source, written in a spirit of good feeling, as well as sound philosophy, and conveying, not merely information of an extraordinary transaction, but also particulars of experiments, that must be, in the highest degree, interesting to every one who is desirous of investigating the human mind, and its operations unassisted by external circumstances. The subject of this little book is still living-living in a part of the world the most distinguished for metaphysical studies. It is therefore not improbable that important lights may be elicited in mental philosophy, and benefit to society may be derived, even from a transaction so vile and inhuman as this most assuredly was. In the meanwhile, we commend the work to the inspection of the curious, in the confidence that it will well repay them for the trouble.

THE DRAMA.

There is, perhaps, more scope for criticism and remark on this subject-always so fruitful in topics for discussion-at the present time, than at any late period in our theatrical annals. We have at this moment two actors, avowedly among the most distinguished of their profession, in the opinion of the London critics, gracing our boards. We have, in the space of the last few months, seen two new tragedies produced to the public; one of native origin, the other a work of the lady, who, like the Athenian tragedians of old, unites in her own person the double attributes of performer and poetess. As regards the KEMBLES, we can now only concur in the cry of approbation, which, had we been in existence at the period of their arrival, we should then have been the first to excite. We consider the father to be a chaste actor of high and polished characters; unequalled in the delineation of passions and feelings, as they arise in the breast of a gentleman, tempered by a sense of honor, by the deference due to his own station, and to the sphere in which he moves; a most correct reader, and in many parts, a most spirited performer. His best parts, to our judgment, are Charles Surface, Mercutio and Falconbridge-the latter one of the finest and most natural characters that ever sprang from the creative brain of Shakspeare. We would add his Clifford, the rather, that in our opinion, the public have hardly done it full justice. That the part is not one of extraordinary capabilities, we are well aware; but we think he does it to the best advantage, and that with an inferior player, the nakedness of the character would be glaring. As regards the daughter--not descending to the fulsome verbiage with which it has been the fashion to laud her-we hesitate not to style her the first actress of the English world, in parts of pathetic tragedy, and grave, or, as it is usually termed, sentimental comedy. In her readings, and many of her tones, she reminds us of her aunt, and although we never dream of her attaining the unrivalled glories of Siddons, we think that she treads close upon the tracks of O'Neil. While on this subject, we must not forget our own Forrest, and Placide. The former, as an actor of passion undisguised, and unchecked by the artificial restraints of civilization--of the sudden sympathies, and fierce outbreakings of anger--in the savage, is as great as Kemble in the opposite line. Placide is never bad, never even moderate, often excellent: he plays parts of the most contrary descriptions, with the same success: his conceptions are good, his readings better; he is the prop of the house to which he is attached, nor is there an audience in the world by which he would not always be heard, with admiration, very frequently with high applause.

Respecting the tragedies alluded to above, our limits do not allow us to speak in detail. Of Oraloossa, however, as a child of

We are nevertheless of opinion, that the author is capable of better things, but if he would write a good tragedy, he must not write it for any actor, however excellent or popular he may be. The present piece he has destroyed, by an overweening anxiety to introduce situations for Mr. Forrest, which he has done in defiance of the unities and of probability-and the consequence is, that, but for the player, the play would have perished. It would be hardly too much to say, that it is 'full of sound and fury, signifying nothing.'

We regret most sincerely that the necessity of going to press, prevents us from noticing the patriotic exertions of our fellow citizens, to do honor to one who has labored long and effectually in the cause of the Drama. The performance for the benefit of Wm. Dunlap, Esq., is a project which, though it is no more than a compliment highly creditable to the liberal spirit of its justly due to the veteran, is nevertheless projectors, and we wish it most heartily the success, which, we also doubt not it will obtain. In our next, we shall not fail to give a full account of all that may be interesting in this public testimonial, the results of which, we trust, will be not less gratifying to the feelings of all our readers, than to that of the distinguished individual who constitutes the subject.

Monthly Obituary.

Feb. 5th. After a lingering illness, borne with Christian resignation, the Rev. P. Duffy, aged 46. R. C. Pastor of Greenwich Village.

7th. In the 29th year of his age, George Clinton Talmadge, son of the late Judge Talmadge.

9th. Mr. William Curtiss, aged 73 years, a native of Fairfield, Virginia, but a resident of this city for the last 40 years; he was a revolutionary pensioner, and served during the war; was at the storming of Stony Point, under General Wayne, and at the siege of Charleston.

21st. During the session of congress, the Hon. James Lent, Jr., member of the house of representatives, from the state of N. Y.

23d. At Staten Island, Captain Henry Lewis Waderholdt, aged 63 years.

27th. Of consumption, in the 29th year of her age, Elizabeth Davidson, wife of John Evers, and eldest daughter of Thomas Swords.