It has a single spiracle. The full-grown have twenty-two subconoid sharp teeth, a little hooked. Among those stranded in Scabay Bay were many young ones, which, as well as the oldest, wanted teeth. The youngest measured about five feet in length, and were still sucklings. The females had two teats, larger than those of a cow, out of which the milk flowed when they were squeezed. These animals are gregarious, and follow one as their leader. They frequently enter the bays around the Orkney coast in quest of small fish, which seem to be their food. When one of them takes the ground, the rest surround and endeavour to assist their stranded compauion from this circumstance several of them are generally taken at once. They are inoffensive and rather timid, and may frequently be chased on shore by a few yawls. They are extremely fat and vield a considerable quantity of good oil. This new species Dr. Traill proposes to denominate delphinus melus. Mr. ACTON of Ipswich, having used a still containing 9 gallons, for distilling common water, essential oils and water refigerated them with a tub which holds about 36 gallons, found it very inconvenient to change the water of the tub as often as it became hot, which it very soon did, after commencing distillation; he therefore contrived the follow ing addition to the refrigerating part of the apparatus, which he has found to suc ceed so well, that he can now distil for any length of time without heating the water in the worm-tub above one degree, so that it never requires to be changed; the heat passes off entirely into the additional condenser, and when it exceeds 150 degrees, goes off by evaporation. The additional condenser consists of a trough three feet long, twelve inches deep, and fifteen inches wide, with a pewter pipe passing through the middle of it horizontally, about two inches in diameter, at the largest end next the still and gradually tapering to about three quarters of an inch at the smallest end which communicates with the top of the worm. The great simplicity of this contrivance and its utility render a fair trial of it in other stills very advisable; the small degree of heat which went to the wa.er in the worm-tub shews, that the additional condenser performed nearly the whole of the condensation, and that therefore it is extremely probable, that a second pipe and trough added to the first, would perform the whole condensation effectually, without using any worm, and thus enable distillers to dispense with this expensive and troublesome part of the apparatus. The first volume of a new Analysis of Chronology by Dr. HALES, is expected to appear this month. The work will form three quarto volumes. Mr. J. ROLAND, fencing-master at the Royal Military Academy at Woolwich, intends to publish by subscription, a Treatise on the Art of Fencing, theoretically and experimentally explained, upon principles entirely new; chiefly designed for those who have acquired only a superficial knowledge of the use of the sword. Dr. ROBERT RENNIE, of Kilsyth, will soon publish the additional parts of his work on the subject of Peat Moss, as a manure and as a soil. MONTHLY RETROSPECT OF THE FINE ARTS. The Use of all New Prints, and Communications of Articles of Intelligence, are requested under coVER to the Care of the Publisher. Twelve Views of Canterbury Cathedral, drawn on the spot, etched and aquatinted by Charles Wild. Published by the Author, Taylor, Molteno, and others. HESE views are selected with much Tjudgment, and drawn with spirit and fidelity; the aqua-tint has more force and breadth than is usual in that style of engraving; the descriptive part is written with considerable elegance; and the whole is creditable to the talents of Mr. Wild, both as an antiquary and an artist, MONTHLY MAG. No. 182. "The Columbiad," a Poem, by Joel Barlow, embellished with Engravings, by British Engravers, from designs by Robert Smirke, Esq. R. A. Printed and published at Philadelphia, 1807, for Conrad and Co. This is one of the finest specimens of the typographical art ever published, on either side of the Atlantic. The engravings (eleven in number,) are in the line mai ner, by Anker Smith, Bromley, Parker, Goulding, Schiavonetti, Cromek, Neagle, Heath, and Raimbachi, who, with the A a painter painter (Sirke,) appear to have been equally animated with the desire of shewing our transatlantic brethren the excellence of British art. If any were singled out from such a collection of beauties, perhaps the portrait of the author, and Hesper, appearing to Columbus in prison, by Anker Smith, and the Inquisition, by Schiavonetti, for engraving, andCruelty presiding over the prison-ship, by Neagle, for sublimity of composition, though equally well engraved, might be selected as the best; they certainly rank among the finest book-prints of the present day. The Inquisition by Schiavonetti, must again be nientioned as one of the most exquisite specimens of the graphic art, that has ever appeared. The Holy Bible, with Engravings by British Artists, from celebrated Pictures of various Schools. By the Rew. John Hewlett, second. part. This second number of graphic illustrations of sacred history, is continued with the same ability as the preceding, and is creditable to the proprietor, the editor, and the engravers. There are five prints, and a beautiful map, in the present number, as follows: very Abraham and the three Angels; by Worthington, from Ludovico Caracci. Jacob wrestling with an Angel, by J. Taylor, from Salvator Rosa. The return of the Prodigal Son, by Heath, from Guercino. Abraham offering Isaac, by Worthing ton, from Annibale Caracei. King Ahasuerus and Esther, by Tomlin son, from Coypel. The pictures, from which these engravings are taken, are from the best specimen of the painters: the first is a beautiful composition, and the story well told; the angels are truly angelic, and the whole every way worthy of Ludovico. The engraving is excellent. The second is truly expressive of the style of Salvator Rosa; and Taylor's engraving of this print deserves the highest praise. Heath's engraving after Guercino is clear and impressive, and the nude parts well managed.. Coypel's picture of Ahasuerus and Esther is too theatrical, too much like the actors of Racine; Esther is fainting too systematically; yet the mechanical part is well handled, and the perspective good. The engraving by Tomlinsonis delicate, lucid, and well finished. Worthington's landscape, containing Abraham offering Isaac on a mount, from An. Carracci, is happily varied; the foreground forcible, and the distance clear and tender; the figures are too sinall, and not sufficiently prominent to meet criti cism. The art of Painting Transparencies, by Edward Orme. Published by the Author. To the admirers of trausparent prints. and drawings, this will prove an acquisition; as it contains sufficient instructions for this innocent amusement, and will no ticularly addressed, and atford them doubt please the ladies, to whom it is par much amusement. The Little Mountaineer, painted by A. W. Devis, Esq. Engraved by E. Scriven, Historical engraver to her R. H. the Princess of Wales. Published by Clay and Seriven. The subject of this interesting little picture, is a fine healthy chubby girl, of about five years of age, pulling a lamb by the ear, that is entangled in a thicket. Every part of the child is well-drawn, and beautifully finished, and the union of the graver and stipple is uncommonly happy, and gives additional beauty to the print. interest he has given to a portrait (the To Mr. Devis, much praise is due for the Cockburn), daughter of Sir James and for the correct costume with which he bras decked his "Little Mountaineer," so unlike the theatrical bal➡ obtrude themselves, with every gaudy coJet-dancing misses and masters that daily our, on the tired eye; the demi-rint that is thrown over the right arm is judicious, and prevents a spottiness of lights. The engraving of the face, neck, and left foot, is in the most delicate style of stippling, as is every other part of the flesh; while the drapery, hair, water, and foliage is most whole it is one of the most beautiful prines forcibly touched with the graver. On the of infantine simplicity, that has for a long time past made its appearance. Venus and Luna. Drawn by Huet Villiers, engraved in Mezzotinto, by Charles Turner & published by Ackermann. The engraving of this pair of prints is... extremely good, but mezzotinto is not the. proper style for translating a soft and ele gantly coloured drawing, for which it is too forcible and abrupt. Mr. Turner's engravings, from the academician of his own name, or the paintings of Hoppner or Shee, accords better, because they are in a more congenial style. The subjects of these prints are happily conceived, and the faces are beautiful yet their allegorical character would have been better pre served, had the moon in the one, and the star in the other, been more distinct, and the faces less made out. The drawings, from which these engravings are made, were exhibited at the last year's exhibition, in Brook-street, and met with much and deserved applause. Lady Heathcote, drawn by R. Cosway, R. A. Engraved by Agar: published by Ackermann. An elegant companion to Mrs. Duff, and equally well drawn and engraved: the bosom, however, is too meretricious, and more exposed than any modest English woman would like hers to be in pub lis; her ladyship's beauty requires no such false baits to attraction. The figure is light, airy, and fancifully imagined, and the engraver has kept pace with the tried abilities of Mr. Cosway, in this line of art. Mrs. Clarke. Drawn and engraved by Adam Buck, of Frith-street. A portrait of this celebrated character, to whom the nation is under such great and lasting obligations, for the last inter esting exposure of corrupt practices, which have at once degraded and ruined the count try, cannot fail to find numerous purchasers at the present moment, It is finely drawn by Mr. Buck from the life, and is a specimen of British beauty, which could not perhaps be exceeded in any part of the world. It is proper to guard the public against pretended portrait of Mrs. Clarke, published by Holland. they describe; and are chatty, pleasant Ciceronis; good-humouredly pointing out the beauties of cach, equally divested of the dogmatizing critic, and the dull cata dogue writer of mere names aud titles. Mr. Wild, the celebrated archæological draftsman, and author of the descriphis researches into English antiquities, tion of Canterbury cathedral, is pursuing shortly publish with indefatigable industry, and will beautiful and elaborate cathedral of a similar work on the York. An at the Royal Academy commenced with On Monday, the 23d ult. the lectures the inauguration lecture of Anthony Carlisle, esq. the new professor of anatomy; who, with a zeal and promptitude that cannot be too much commended, commenced a course of lectures on anatomy within two months after his election to the pro fessor's chair. Mr. Carlisle began with an eulogium and biographical account of Joku Sheldon, esq. and gave a slight his much lamented predecessor, the late but spirited sketch of his professional life from the cominencement of his studies under the celebrated Hunter, to the time of his death; and delicately alluded to the melancholy mental eclipse, that occasionally deprived the academy of his regular assistance, and finally England fortunate malady (said Professor Carof one of its greatest ornaments. lisle) from whose encroaching inroads none of us are free. Mr. Carlisle is a man of a cultivated mind, and who apCatalogue raisonné of the Pictures belonging to the pears to have made the philosophy of Must Honorable the Marquis of Stafford, in the the fine arts his peculiar study, and is Gallery of Cleveland-house, comprising a List therefore, well qualified for the acadethe Pictures, with illustrative Anecdotes, c.inical honour, with which he has so justSc. by J. Britton, F.S.A. Greeks and their Style of Sculpture was ly been invested. His eulogium on the as justly delineated as it was true. apologized to the Professor of Painting if re should appear to make inroads on his ed, that if he was prevented from occaprovince, and by a poetical simile, addsionally skirting his lines of demarkation, he should scarcely know how to accommodate the science of anatomy to the studies of the artist. to the students on the antiquity, utility, After expatiating and other qualities of the science of anatomy, he proceeded to a general explapation of the component parts of man, as divided into head, trank, and extremities, with their greater subdivisions, and by a method as novel as it is likely to be useful, he described geometrical diâgrams on the body of the model, (the celebrated Gregson, who is reckoned to of An Historical Account of Corsham house, in Wiltshire, the Seat of Paul Cobb Methuen, esq. with a Catalogue of bis celebrated Collection of Pictures, by the same author, and puolisbed by Longman and Co. He The comprehensive titles of the above two useful little works, render an analysis unnecessary. They are executed with fidelity and taste, the anecdotes are characteristic, and the biographical memoirs concise and well written. The former work is embellished with a correct plan, and a beautifully engraved frontispiece, by Bond, from a correct perspective view of the Marquis's new gallery, by J. C. Smith; and the latter with a plan and view of Corsham house, engraved by J. C. Smith, from a drawing by the author. They form entertaining pocket companians to the two noble collections of pictures approach approach nearer to the proportions of Lord Elgin's admirable Theseus than any other known model), correctly dividing the abdomen, and its region, into more accurate proportions, than by former me thods, and every artist is indebted to the learned professor, for the ease with which he may now acquire this elementary branch of the fine arts. Professor Carlisle has wisely promised to abandon technical terms as much as possible, which will certainly make the science more easy of acquisition. Mr Carlisle has since continued his lectures with unabated success. The Exhibition of the Works of Living British Artists was opened on Monday, the thirteenth ult. at the rooms of the British Institution, Pall Mall, and reflects great honour on the English school of art, though not so numerous as in former years. England wanted but a school of art to seat her among the most civilized nations of Europe; and to the honour of the present reign, this desirable end is at length obtained. In the present exhibition the enquiry is naturally directed to those pictures that the learned committee of the institution have stamped with the reward of merit; although by the competition of Sharp and Mulready; Dawe and Hilton; Linnel and Chalon; the utmost abilities of the committee were certainly called forth; yet, perhaps, never were works of art more nicely balanced, and certainly never was the decision of an institution more just; and, as only one in each class could be victors, the unsuccessful candidates have most honourably failed. In the class of history and poetry the powers of the mind are nearly equalled. Hilton, in the Red Cross Knight, has soared into the regions of ideal horror, and has successfully wielded the baton of Raffaelle. This mouster is, perhaps, the most horrific on canvas, after the dragon of Raffaelle, now in the Napoleon Mu seum, at Paris; but in choice of subject, and in finishing, has his rival beaten him. Dawe has wisely chosen his subject from Nature and Britannia's favourite son, his Imogen is as charming as imagination can suggest; the surrounding spectators admirably grouped, the landscape well contrived, and the whole finished just to such a point, as not to destroy grandeur of style. In the class of familiar life, the supe riority of mind is due to Sharp, and of finishing to Mulready. The mechanism of the art cannot be carried farther than the furniture and parts of the latter's carpenter's shop. It is merely a shop, kitchen, and some figures; no story is told; no action is expressed. Sharp's music master, on the contrary, is all action, all inind; the foot of the boy and the finger of the master are both in unison; their eyes and attention are directed to the same object, and the archness of the female stopping her ears from the dull monotony of a juvenile learner of the violin, is wit-it is " true humour to advantage dressed :" the society is too refined for low humour. It combines the excellencies without the grossness of the Dutch school, from which may the litany of the British school ever be, "Good Lord deliver us." Every true lover of art will be pleased to hear that Mr. T. Hope has purchased this beautiful picture for 100 guineas. REVIEW OF NEW MUSICAL PUBLICATIONS. Of the landscapes less shall be said, as they possess a lower degree of excellence, as operations of the mental powers than the two foregoing classes. They are even more on a par than those, but the promising appearance of such a youth as Linnell deserved, and has obtained, its just reward; however, Chalon's landscape must not be forgotten as one of the best in the room. At the request of several Correspondents, we shall, in future, give notice of all large sales of works of art; and therefore solicit information on that head. say, that this great master sometimes indulges too far in chromatic and far-fetched evolutions in his melody, and evinces in the almost constantly elaborate disposition of his parts, a determination to be original, even at the expence too often of being also crude, quaint, and dissonant, in saying this, however, we do not suffer ourselves to lose sight of Mr. Breethoven's high pretension to our commendation as a comi יד. a composer of the first order of merit, and a profound harmonist. The pieces before us, are so far proofs both of the native force of his imagination and his rich stock of resources in harmonical erudition, that they alone would be sufficient to maintain the reputation he has so justly acquired, or to raise into notice an unknown name. The whole of the present work, with the exception of a few passages, falling under the objection we have been making, is worthy of the greatest abilities; and at once displays a command of fancy and mastery of combination and arrangement that must delight every tasteful and cultivated ear. Studio per il Piano forte, and its Continuation, in Two Volumes, each consisting of forty-two Exercises; intended to facilitate the Progress of those who study that Instrument. Composed, and the leading Fingers marked to each Passage, by J. B. Cramer, Esq. First Vol. 11. 15. second xl. 6s. · We class these volumes amongst the most useful in their kind, that have, for a long while, come under our critical notice. The variety and variously-turned passages by which the pages are occupied the happy solution of practical difficulties; the comprehensive field Mr. Cramer has taken; together with the equal distribution of exercise to both hands, and the useful hints thrown out by the fingering affixed to certain intri cate changes of position, give great value to the publication, and lay the arduous and emulous practitioner under no trivial obligation to the ingenious author. A grand Sonata for the Piano-forte. Composed and dedicated to Mr. Woelf, by C. Neate. This Sonata consists of three movements, the styles of which so far accord as to fall under the same general observations; the same disapproval, and the same commendation. They are all ingenious, but all stiff and crampt; scientific, but affected and dissonant; cannot be rejected for any thing that is wrong, nor admired for any thing that is beautiful. The ear is wow and then, especially in the minuet, attracted by a bar expected to lead to something melodially satisfactory and conclusive, but is as often disappointed. We are led through a variety of foreign keys, obviously hunted after by the composer; and after a wild evolution of modulated eccentricities and ourselves at the close, without any satisfactory or consistent impression. But no want of natural ability, no lack of science, are any where preceivable; so that, notwithstanding these objections, we shall be led to expect much from Mr. Neate's future efforts, when he has simplified his ideas, and regulated his judgment. "O Fairest of all Creatures;" a Song, with an Accompaniment for the Piano-forte. Composed by J. Elliot. 1s. 6d. This little ballad possesses much beauty of melody, and bespeaks no small degree of taste and feeling. The sub ject of the air (though not particularly happy in the expression of the words that fall under the second bar), is round and sinooth, and the passages succeed each other with an easy, natural and connected effect. Indeed, we see so much promise in the composition, taken by the extent of its circulation, be enen masse, that we hope Mr. J. Elliot will, couraged to proceed in the cultivation of this species of composition. Sonata for the Piano forte, with an Accompani ment for the Violin (ad libitum). Composed and dedicated to Her Royal Highness the Prins cess Charlotte of Wales by Mrs. Miles. 5s. A fertility and sprightliness of fancy form the chief characteristics of this sonata. Of its profound science, or hap~ py choice of bass, we will not speak; but the variety, attraction, and analogy of the greater part of the passages, demand our commendation. The composition, taken in the aggregate, is certainly very creditable to Mrs. Miles's taste and ingenuity, and, when well performed, cannot but ensure admiration to its fair authoress. A grand Sonata for the Piano-forte, as performed by the celebrated Miss Randles. Composed by J. Blewitt. 55. This sonata, in which we find introduced as its middle movement, the favorite Welsh air of "Ar Hyd y nos," is not without merit. The passages have a natural and easy flow, and are not wanting in connection. The subject of the rondo is pleasing, the movements relieve each other, and the aggregate effect is by no means discreditable to Mr. Blewitt's taste and fancy. A Military Divertimento for the Piano-forte, with an Accompaniment for a Flute (ad libitum). Composed by J. Hook, Esq. 25. This divertimento consists of a march, an andanto in triple times, and a short presto movement, in two crotchets. The march is bold and open in its style, and is well relieved by the second movement, while the third possesses a pleasantness and gaiety which cannot but very generally please. Four |