1. FAMILY BIBLE.-Three vols. russia, 51. 59. 8. CAMPAIGN of the LEFT WING of the ALLIED A in the Western Pyrenees and South of France, years 1813-14, under Field-Marshal the Marquis of Wellingt lustrated by a detailed Plan of the Operations, and numerou of Mountain and River Scenery, drawn and etched by Bally, of the 1st or Grenadier Guards, F.R.S. Member of perial Russian Order of St. Anne.—4to. price 21. 2s. THE HOLY BIBLE, according to the authorized Version with Notes, Explanatory and Practical: taken principally from the most eminent writers of the United Church of England and Ireland: together with appropriate Introductions, Tables, Indexes, Maps, and Plans: prepared and arranged by the Rev. George D'Oyly, D.D. and the Rev. Richard Mant, D.D. (now Lord Bishop of Killaloe,) late Domestic Chaplains to his Grace the Lord Archbishop of Canterbury. Under the direction of the Society for Pro-VIEWS of the SEATS of NOBLEMEN and GEN moting Christian Knowledge. 2. Dedicated, by permission, to the Archbishop of Canterbury, THE BOOK of COMMON PRAYER, and Administra tion of the Sacraments, and other Rites and Ceremonies of the Church, according to the use of the United Church of England and Ireland; together with the Psalter, or Psalms of David, pointed as they are to be sung or said in Churches; and the Forms and Manner of Making, Ordaining, and Consecrating of Bishops, Priests, and Deacons ; with Notes, explanatory, practical, and historical. Selected and arranged by the Rev. Richard Mant, D.D. (now Lord Bishop of Killaloe.) Bound to correspond with the Bible, price £2.88. 3. 9. B MEN, in England, Wales, Scotland, and Ireland. Neale, Author of the "Illustrations of Westminster Abbey," Engraved in the line manner by the First Artists.-In Parts paper, 8s.; small paper, 4s. 10. SPECIMENS in ECCENTRIC CIRCULAR TURE with Practical Instructions for producing corresponding in that Art. By J. H. Ibbetson, Esq. Illustrated with mor Sixty Copper-plates and Wood-cnts. 8vo. 11. 1s. Every Amateur in the Art of Turning must doubtless be g when he is informed, that the Copper-plates and Wood-cuts Work, which are very numerous, were turned by the Author. "We give Mr. I. the highest credit. His plates exhibit th distinct representation of the objects intended, executed neatest manner. There is something so neat and elegant in BEAUTIES of ENGLAND and WALES, or Delineations, delineations, that even without being practised in the art, it Topographical, Historical and Descriptive. 25 vols. 8vo. half bound, very superior plates, price 26 guineas. 4. AN ENCYCLOPEDIA OF GARDENING, comprising the Theory and Practice of Horticulture, Floriculture, Arboriculture, and Landscape Gardening, including all the latest Improvements; a General History of Gardening in all Countries, and a Statistical View of its present State. with Suggestions for its possible not to be pleased with their appearance and effect Ibbetson's book will be established as a correct manual for ti of all amateur turners; at least those who aspire to distinc this ornamental and curious branch of art."-GENTLEMAN's 1 ZINE. 11. NEW BIOGRAPHICAL WORK.-Now publishing in M future Progress in the British Isles. By J. C. Loudon, F. L. S. SELECT BIOGRAPHY, or a Collection of Liv F. S., &c. &c. Author of a Treatise on Forming and Improving 5. WILKINSON'S ATLAS CLASSICA, being a Collection of Maps of the Countries mentioned by the ancient Authors, both Sacred and Profane, with their various Subdivisions at different periods. Royal 4to, half bound, price £2. 8s. 6. Eminent Persons who have done honour to their country. the best Authorities. Parts of this interesting work have al appeared; consisting of the Lives of Latimer, Gilpin, Cranmer, liff, and Lord Cobham, by William Gilpin, A.M.; and the Li the Right Hon. C. J. Fox, Right Hon. W. Pitt, Lord Viscount son, Duke of Marlborough, Bruce, Sir Walter Raleigh, Sa Johnson, Marquis of Montrose, Alexander Pope, General I Duke of Albemarle, Lord Bacon, Lord Clarendon, Benjamin Sir Christopher Wren, Shakspeare, Penn, Howard, &c. &c. 12. NORTHERN CAMBRIAN MOUNTAINS; or, a Tour though North Wales, describing the Scenery and General Cha- MANNING and BRAY'S HISTORY of SUR racter of that Romantic Country, embellished with highly finished coloured Views, engraved from Original Drawings by Messrs. 3 vols. large paper, 251. 13. Turner, R. A.; Compton, Robson, Gandy, A. R. A.; Nicholson, A Splendidly Illuminated POCKET BOOK: to be and Others. Royal 4to, half bound. 7. PRACTICAL HINTS on COMPOSITION in PAINT ING. Illustrated by Examples from the Great Masters of the Italian, Flemish, and Dutch Schools. By John Burnet. "Invention is one of the great marks of genius; but if we consult experience, we shall find that it is by being conversant with the invention of others that we learn to invent, as, by reading the thoughts of others we learn to think."-SIR JOSHUA REYNOLDS. Price, India paper, 21s.; small paper, 12s. dds. titled Friendship's Offering, or the Annual Remembranc Christmas Present, or New Year's Gift for the year 1824. Pr. POCKET BOOKS for the year 1824. The 9th Part of PHYSIOGNOMICAL PORTRAITS is now re London: Printed by SHACKELL and ARROWSMITH, 11, J son's Court; and published by W. WETTON, 21, Fleet St and may be had of all Booksellers and Newsmen. WEEKLY MISCELLANY OF FINE ARTS, ANTIQUITIES, AND LITERARY CHIT CHAT. By Ephraim Hardcastle. THE RISE AND PROGRESS OF WATER- No. I. TURNER AND GIRTIN.-The efforts which had been made in the water-colour department of landscape and topographical painting, before the appearance of William Mallard Turner and Thomas Girtin, amounted to little more than to produce correct views of abbeys, castles, ancient towns, and noblemen's seats. These subjects, however, were handled with no mean skill by Paul Sandby, whose memory is regarded with veneration by the present school, who have raised so fine a superstructure upon the foundation which he laid. who helped to found a British school for this modern art. His drawings, however, have a different, and perhaps more original-at least a more poetic character-than any of the works of the preceding worthies. His compositions embraced the vastness of nature, in her grand combinations of mountains, woods, and lakes, and struck out a style of effect that has been said to be the precursor to the ultimate superiority of water-colour painting, which was reserved for Turner and Girtin to attain. It should be observed, that this is rather said in justice to the talent of Cozens, than to lessen the merits of these two superior artists, to whose works Cozens's, as regards the term paintings, bear no comparison,-his being at most little more than merely tinted chiaro-scuro, similar to mezzo-tinto prints thinly washed with colours. Michael Angelo Rooker must also be named with respect, as having contributed to the improvement of this art. He had an excellent eye for the pic- Thus we have briefly named those few ingenious turesque. Many of his representations of ancient men, whose efforts, from about the middle of the remains are drawn with that truth and characteristic last century at farthest, have produced works in detail, which, whatever might be wanting to com-water-colours, worthy the name of art. All that plete his works, touching their general effect, are had been done in this material by Pillement, Chatyet sufficiently interesting to hold a due rank in telain, and others, in the early part of the century, the portfolio of the connoisseur. The views of the being principally pasticios, or compositions from colleges on the Oxford Almanac, which were Italian, Flemish, and Dutch prints, hatched in black drawn and engraved by this artist, alone would re-chalk, and tinted; or drawings with penned outmain sufficient testimony of his abilities. He was the son of Edward Rooker, also an artist in the same walk, who placed Michael Angelo under the tuition of Paul Sandby. lines, shadowed with Indian ink, and washed with thin colour. We shall, however, reserve a more particular notice of these humble labourers in the uncultured era of taste, to a future number of these essays, and offer our observations on the respective merits of Turner and Girtin. Among the worst reflections that can be cast upon a civilized age, is that of its having neglected to pay due regard to the talents of contemporaneous genius. The approaches to excellence in any art, Thomas Hearne, another ingenious artist, whose talent in the topographical department fairly includes him amongst the founders of our school of water-colour painting, was much admired in his day; and we still recur to his beautiful and chaste drawings with delight. Nothing can be more faithful to their prototypes than some of the abbey-are generally too slow and steadily progressive, to gates and castellated towers-existing remains of ancient architecture-which he made the subjects for his pencil. The mouldering walls; the remnants of carved porches; the elegant windows, with their mutilated columns, are represented in his small drawings, with a pictorial charm, that, we believe, has contributed greatly to that rage for topographical collecting, which has of late so much enriched the cabinets of our nobility and gentry, and others who have acquired a taste for such elegant pursuits. John Cozens, of respected memory, is another No. V. excite much admiration in him who takes an unusual stride. Indeed, the pursuits of genius are little regarded by the great mass of society: hence it remains for the enlightened few, the wealthy, and the learned, to seek for merit, and to reward it when it is found. Happily this reproach cannot be fixed upon the generation that witnessed the progress of these two artists, whose pursuits, whilst youths, were so congenial as to the end, yet so dissimilar in practice. They each struck out a new path, leading to the same goal. LONDON, NOVEMBER 8, 1823. SIXPENCE. Turner was well grounded in perspective, under Malton. Girtin became an adept in the same science, under the tuition of Dayes. Each left his preceptor in art an immeasurable distance behind. remains of ancient architecture. We remember his earliest topographical drawings: these had all the correctness of Hearne, with an endeavour to superadd that which his prototype did not attempt, -the representation of local colour. His first efDr. Munro, long known as an amateur artist, forts, though somewhat crude, gave presage of his and great collector of drawings, was in no small superior feeling; for every stone, and brick, and degree instrumental to the advancement of these tile on his buildings were varied in their respective youths, particularly to Turner. The Doctor's col-tints. He had already, to use the phrase of a delection, which contained some of the choicest works parted artist, learned to read nature. of Cozens and Hearne, was open to them; and Girtin was proceeding with the same observant they, with a laudable spirit of competition, and an eye to nature, and equally attentive to that captiardent love of their profession, availed themselves vating quality, local colour. These two aspiring geof the advantage. Many copies made by Messrs. niuses, emulous without envy, were developing new Girtin and Turner, under the roof of Dr. Munro, properties in the material with which they wrought whilst considerably under age, were so admirable their elegant imitations of nature, and raising the for freedom and correctness, that they were not un-practice of water colours, which had hitherto profrequently preferred to the originals from which they had been taken. cured no higher title for the best works of its professors, than tinted drawings, to the rank and chaThus, having acquired a knowledge of the execu-racter of paintings in water colours. Thus these tive department of drawing, our youthful artists, like two distinguished artists, improving rapidly, as Claude, the Poussins, and the illustrious landscape by inspiration, whilst young men, achieved the painters of old, sought nature in those recesses honour of founding that English school, as it now where she loves to hold communion with her vo- || stands recorded, the admiration of all nations. taries, whether painter or poet, and copied her in her native beauty. It should be observed, that the term, studying from nature, in the sense with which it is applied to this art, implies the drawing or painting of animate and inanimate objects, whether natural or artificial, from the objects themselves, in contradistinction to copying them from the works of other artists, from memory, or from description. And herein consists the main difference between painting and poetry. To paint from nature, the artist must not only have an accurate knowledge of the form, but some acquaintance with the structure of the object represented. Not so with the poet. To describe a storm at sea, the poet carries the imagination of his reader up mighty waves in his labouring bark, and hurries it down again into a fearful abyss of waters: yet, however finely he paints his description, he may not have seen a ship, or have been within sight of rocks or waves. The painter, however, must not only have witnessed the ocean in its rage, and the vessel borne upon its foaming surface, but have studied the colour, form, and texture of the liquid element, and know the structure of the mighty piece of moving architecture that awfully rolls along. Turner's commencement from nature, was the depicting scenes whose principal features were It might be supposed that similarity of study, at their commencement, and the apparent affinity of feeling for their art, would have led these young painters to practice in a similar style. On the contrary, such is original talent, nothing can be less like than the drawings of Turner and Girtin. We do not court comparisons, but their works are frequently as remote, in general character, as Salvator Rosa, and Claude de Lorraine. But here we must again compare the pursuits of our artists, and that with painful recollections of Thomas Girtin. His contemporary, Turner, continued to pursue his art with that philosophic spirit, which becomes the great and good, whilst his ingenious friend sunk into habits, which genius only renders more pitiable, and by self-indulgence, lost his energies in the ratio of his declining health. He died, alas at that early age, which had only afforded him the power of showing, that had he lived, and been discreet, we might have boasted, instead of one incomparable genius in this walk, the two greatest landscape painters in the world. Girtin made his drawings, with but few exceptions, on cartridge paper. He chose this material, as his aim was to procure a bold and striking chiaro-scuro, with splendour of colour, and without attention to detail. Some of his happiest productions display these qualities, united with magnifi cent effect. Certain of his topographical views, are treated with an originality of feeling that cannot fail to captivate the artist and the connoisseur. Many of his works, however, betray a carelessness of execution, and an inattention to proportions and to form, which requires something of prejudice in favour of originality, to tolerate or endure. His mountainous scenery was oftentimes treated with grandeur of effect, obviously assuring us that he had been an attentive observer of those sublime appearances, created by storms and vapours, which occur in those elevated regions. He was one of those daring imitators of nature, who ventured to represent a mass of mountains, dark, and darker still as they receded into the distance, a figure of painting which none but the most poetic mind would presume to introduce in a composition. The flatness and freshness with which he described the vallies, extending to the basis of their surrounding heights, he imitated with a felicity that perhaps has never been exceeded. The distant herds, too, which he introduced grazing on these plains, were so near to what we have seen, when a gleam of light has penetrated a parting cloud, so many gems, glittering on the verdant meads. extends far beyond that scale, which water-colours can ever be expected to reach. The splendour and depth of Reynolds, could only be obtained by the materials with which he wrought. Girtin's admirers tolerated a defect in his drawings, which proves how much allowance the liberal connoisseur will make for the sake of genius. The paper which he most admired was only to be had of a stationer at Charing Cross; this was cartridge, with slight wire marks, and folded like foolscap or post. It commonly happened that the part which had been folded, when put on the stretching frame, would sink into spots in a line, entirely across the centre of the sky; so that where the crease had been, the colour was so many degrees of a darker blue than the general tone of the sky. This unsightly accident was not only overlooked, but in some instances really admired, inasmuch, that it was taken for a sign of originality, and in the transfer of his drawings from one collector to another, bore a premium, according to that indubitable mark. We shall offer some observations on the method of study, and the process for colouring, as practised by these distinguished artists, in our next number. THE MUSICIAN'S SCRAP BOOK. PAINTERS WHO HAVE BEEN MUSICIANS. FIRST on the list we shall place that renowned Italian, Salvator Rosa, whose daring genius seemed to outstrip nature, even in her wildest mood;— whose rocks and mountains, woods and raging torrents, proclaim him the Michael Angelo of landscape. This artist prepared his drawings on the same principle which had hitherto been confined to painting in oil, namely, laying in the object upon his paper, with the local colour, and shadowing the same with the individual tint of its own shadow. Previous to the practice of Turner and Girtin, drawings were shadowed first entirely through, whatever their component parts-houses, castles, trees, mountains, fore-grounds, middle-grounds, and distances, all with black or grey, and these objects were afterwards stained, or tinted, enriched and finished, as is now the custom to colour prints. It was this new practice, introduced by these distin- This great painter, it appears, was one of the guished artists, that acquired for designs in water-best musical composers of the seventeenth century; colours upon paper, the title of paintings: a de- for which information we are indebted to the resignation which many works of the existing school search of Dr. Burney, who, whilst pursuing his decidedly merit, as we lately beheld in the Exhibi- enquiries at Rome, for his inestimable History of tion of the Painters in Water Colours, where pic- || Music, discovered some manuscript music and tures of this class were displayed in gorgeous poetry of Salvator's composing, and written in his frames, bearing out in effect against the mass of own hand. Several airs and cantatas, set by Caglittering gold, as powerfully as pictures in oil. rissimi, Cesti, and Pasqualini, were composed for the poetry of this painter. But eight entire cantatas were written, set, and transcribed by himself. The book which contained these extra records of his genius, was purchased of his great-granddaughter, who inhabited the house in which her illustrious ancestor the painter lived and died. We beg, however, in saying thus much to the credit of this new art, to observe, that we confine ourselves to the landscape and topographical department; for there are subjects for imitation, in the vast scope of painting, which to represent with due force, and that local truth which they demand, 66 "The music of these eight pieces of Salvator's," "Music is one-half of discipline, and a schoolsays this esteemed critic," is not only admirable mistress that makes men more gentle and meek, for a Dilletante, but in point of melody, superior-more modest, and more intelligent. Music is a to that of most of the masters of his time." He gift of God, and nearly allied to theology. I would ascribes to Salvator the merit of that moving bass, not for a great deal be destitute of the small skill in which Corelli, after the death of the painter, intro-music which I have. I am glad," adds he, “ that duced in his glorious works, a style worthy the God has bereaved the country clowns of such a gigantic mind of this romantic artist. The fol- great gift and comfort, as that they neither hear lowing, from a cantata, is offered as a specimen of nor regard music." his poetry. After promising eternal constancy to his mistress, he says, ence. At times appointed to subdue the heart; When tears repentant from each eye should start? And while such trivial talents are display'd, In howls and squeaks, which wound the pious ear; To purify the soul, or heart to cheer. Like drunken Bacchanals they shameless roar, Till with their noise and jargon all are weary; And in the Sanctuary they God adore, Nicholas Laniere, noticed in our last number among the worthies interred in Old St. Martin's Church, was not only a painter and engraver, but a composer of music. In the Music School at Oxford is a portrait of Laniere, with a pallet and pencils in his hand. He painted for King Charles I. a composition of Mary, Christ, and Joseph. He was employed by James I.; and it is recorded that the Duke of Buckingham once gave this painter 5001. in gold, because he could not get out of King James what Laniere deserved. On another occasion, he presented him with 3001. in gold. Benvenuto Cellini, the Italian sculptor, and the most celebrated chaser on record, if we are to believe his own account, was the finest player upon the flute of all his contemporaries, and doubtless would have challenged Orpheus himself to a trial of skill, had he met him at Florence with a flute in his hand. Teniers, we may presume, was a musician, as he has painted himself playing in concert, upon a bass viol. Gainsborough wanted only perseverance to become a musician, being allowed by his sober friends,-| professors of music, to have an aptitude for all instruments; although his scientific friend, our favourite, Jackson of Exeter, wrote so freely upon what he was pleased to consider our painter's foible. The Martin Luther held the science in holy reveraccount is, however, so playful, that we shall tran"Music," says this champion of reforma-scribe it, moreover as it is from the pen of a retion, ❝ is one of the most beautiful and most glo-nowned musician, who was himself an amateur of rious gifts of God, to which Satan is a bitter painting, and an exhibitor of a pleasing landscape enemy. By music, many tribulations and evil composition in the Royal Academy Exhibition in thoughts are driven away. It is one of the best Pall Mall, 1772. Mr. Jackson says, arts; the notes give life to the text. It expelleth melancholy, as we see in King Saul. Music is the best solace for a sad and sorrowful mind. By means of music the heart is comforted, and settles again to peace. It is said by Virgil, Tu Calamos inflare leves, ego dicere versus :' 66 Gainsborough's profession was painting,when music seemed to be his employment, and music was his amusement. Yet there were times painting his diversion. As his skill in music has been celebrated, I will, before I speak of him as a painter, mention what degree of merit he possessed as a musician. "When I first knew him, he lived at Bath, |