1815.]. Smart's Musical Chronometer. invariably produces an audible beating between them. The beating may not only be heard, but likewise distinctly felt. The best way to feel it is to support a small piece of steel wire about two inches on the sounding-board of the monochord with one of the finger nails, If the lower end of the piece of wire be semispherical, if its upper end be pointed, and if that pointed end be applied to the tender part of the nail, then the beating will be felt very sensibly." Forty Preludes for the Piano-forte in the Major and Minor Keys. Composed and fingered by Ferdinand Ries. Clementi and Co. 5s. The preludes are only intended to be used as small introductions to any movement. They exhibit a beautiful display of chromatic modulation, in which delightful combinations and masterly divisions continually succeed each other with endless variety. They are classed and numbered ac. cording to their keys. The title of prelude does not exactly apply to all of them. Some should rather be termed capriccios, particularly Nos. 9 and 33, which begin in the 4th or 5th of the key. We trust that Mr. Clementi, who is so good a judge of musical compositions, will prevail on this gentleman to favour the public with more of his charming productions, Tête-à-1ête; a Selection of admired National Melodies arranged as Duetts, for the Use of Juvenile Performers on the Pianoforte. By J. Munro. 3s. This title is rather unlucky: tête-à tête, according to Boyer, means face to face, and not elbow to elbow, which is the position of duet performers at a piano-forte. We have another crow to pull with Mr. Munro; had he studied the rule in Dr. Crotch's elements, (p. 30,) that "two consecutive octaves must not take place between the same parts," he would have detected the two palpable octaves in the second bar from the beginning. This is, nevertheless, a pleasing seleetion-perfectly easy and 57 simple-and extremely well calculated for boarding-schools and young practitioners. The Rose had been Wash'd; a favourite Song, sung by Mrs. Ashe at the Bath and Nobility's Concerts. Composed by F. I. Klose. Lavenu. 1s. 6d. These words have been set by Webb, and sung with great effect by Mr. Harrison. But tempora mutantur; and music has changed with other things. This air, if not intrinsically superior to the old one, is perhaps better adapted to the modern taste, aad displays the powers of Mrs. Ashe in an eminent degree. Cupid's Snare, Fair and Faithful too, The London Cries; sung at Vauxhall Gardens. Written and composed by John Parry. Bland and Weller. 1s. 6d. each. The returning season has brought a fresh supply of Vauxhall songs. Our room-garret we meanis strewed with them. Mr. Parry seems to have the exclusive privilege of composing for the gardens. We hope no accident has befallen our venerable and worthy master, Mr. Ilook, whose name we have long been accustomed to see to this sort of songs. No. I. Albien, a new Medley Divertimento, composed of Popular English Melodies; arranged in a Familiar Style for the Use of Young Practitioners on the Pianoforte. By J. Munro. 2s. However highly we may appreciate Mr. Munro's merit, we are sorry to see him altering Dr. Arne's basses. The bass part to " Rule Britannia" is a most beautiful melody of itself, independently of the treble. He has likewise been tampering with several other airs. No doubt he meant to improve them; but, as a worthy alderman observed the other day, concerning the new Post Office, an improvement ought to be for the better. Whether this is the case, in the present instance, we leave the admirers of old classical music to decide. 58 Review of the Fine Arts. divided into 60 degrees, by which the time may be accelerated or retarded to the greatest nicety. The whole is put in motion by internal machinery, and when wound up will continue in action for an hour; by turning the index of the left dial the chronometer is adjusted to any measure required, whilst in the same action the tablet shifts itself, and shows the gradation of notes in the required measure, and each hammer beats the exact time of the notes over which it acts. To prevent the confusion that might arise from the action of all the baminers at the same time, there is a little stud under each to restrain their motion, so that any hammer may be stopped at pleasure by merely slipping back the corresponding stud. The management of this instrument is very simple, but ample instructions for the use of it will [Aug. 1, be found in a little work recently published by the inventor, entitled "An Introduction to the Musical Chronometer, forming a selection of Airs, &c. from the most classical Authors;" in the course of which, the application and management of the machine are progressively explained. The clearness with which this machine demonstrates the principles of time renders it a most important acquisition in the study of music, particularly in the master's absence, as pupils have constant instruction before them in the hours of private practice, when, if necessary, they may ascertain the true time of every note they have to play.-It may be had, on sale or hire, of Mr. Smart, 39, Foley-place; or Messrs. Chappell & Co. 124, New Bond-street. REVIEW AND REGISTER OF THE FINE ARTS. "L'onore conferito da Grandi à bravi artisti dà vita e vigore alle Belle Arti; come poco incoragimento, e le critiche severe, le fanno languire." Christmas Eve; painted and engraved by JOHN BURNETT, and published by him and Messrs. BOYDELL and Co. May 1, 1815. Condivi, Vita di Michel Angiolo Buonarotti. MR. BURNETT, who is well known both as a painter and engraver, has here given us one of those domestic scenes for which the Dutch and Flemish schools are so celebrated. He has succeeded in presenting an English cottage, (Christmas Eve,) where a girl is playing cards with her aged mother, overlooked and directed by her sweetheart. The subject is simple and well treated, the accessories well introduced, and the engraving, particularly the old woman's head, is in a high style of excellence, and better than the drawing. A Print, representing His Royal High ness the Prince Regent, accompanied by his Illustrious Visitors their Imperial and Royal Majesties the Emperor of Russia and the King of Prussia, and attended by Marshal Prince Blücher, the Hetman Platoff, and several distinguished Foreign and British Officers, in Hyde Park, after the Review on the 20th June, 1814. Humbly inscribed to the British Nation, as a Memorial of that highly interesting Event, by THOMAS MACDONALD, of the Poets Gallery, Fleet-street. Drawn and etched by ALEXANDER SAUERWEID, ɑ Native of Russia; the Portraits en graved by EDWARD SCRIVEN, Historical Engraver to H. R. H. the Prince Regent; and the Landscape aquatinted by J. HILL. This is the print announced by us in June last, and equals our expectations. The centre of the picture is occupied by the Prince Regent, with his illustrious visitors, the Emperor of Russia on his left hand, and the King of Prussia on his right, mounted on chargers. The heroic Blücher is near the King, and the Hetman Platoff by the side of the Emperor. The rest of the groupe is formed by the Prince of Orange, the sons of the King of Prussia, and other illustrious foreigners. In the distance, on the right, are groupes of horsemen following on the gallop; and, on the left, several of Platoff's Cossacks, and the equestrian lady who excited so much attention by the boldness and elegance of her riding. The fore-ground is embellished with groupes of pedestrians, male and female, and children; and, with the picturesque scenery of the Park, forms one of the most interesting publications that have for a long time appeared. Mr. Sauerweid does honour to the native talent in art of Russia; and the portraits, though diminutive, and bearing but small proportion to the rest, are creditable to the well-earned reputation of Mr. Scriven; nor must the aquatinter (Mr. Hill) be 1815.] Exhibition of Pictures by Flemish and Dutch Masters. suffered to escape without his share of EXHIBITION OF PICTURES BY RUBENS, SCHOOLS, with which the Proprietors We resume our notice of this glorious exhibition from our last number but one, and regret that our limits will not allow us more than to notice a few of the finest brilliants in this invaluable collection of graphic gems. The names of the liberal contributors to this delightful scene we have already recorded, at page 457, for June last. No. 1, Portrait of King Charles on Horseback, VANDYKE, which has been pronounced from the highest authority (Sir Joshua Reynolds) to be the finest equestrian portrait which had ever been produced. No. 13, Earth and Water, the Parents of Plenty; an Allegory: RUBENS. No. 16, Bacchanalians, RUBENS.--This splendid masterpiece of the Prince of Colourists has been admirably engraved by HODGES, and published by BoYDELL and Co., who have also published Nos. 17, 31, 55, 58, 79, 98, 101, 124, 125, 131, and 141, of this exhibition. Among others most prominent in this series of wonders of art, may be enumerated, besides the foregoing, No. 32, The Wise Men's Offering, by REMBRANDT, from Carlton-house. No. 43, An Interior: a Woman opening Oysters. The figure in the red cap is we understand a portrait of Francis Mieris, the painter. No. 44, A Lady reading a Letter, TEERBUrgh. No. 95, Conversion of St. Paul, RUBENS. No. 106, George Villiers Duke of Buckingham on horseback, with Allegorical Figures, RUBENS. No. 125, Dadalus and Icarus, VANDYKE. No. 130, Temptation of St. Anthony, and 131, An Incantation, both by TENIERS, the latter of which has been engraved by EARLOM. To enumerate more is not at present in our power, and to have mentioned fewer would have been injustice; but here every picture is a masterpiece; and it is probable there never was seen before, in one suite of rooms, such a magnificent collection; we shall, therefore, conclude with the following extract from 59 the address of the directors, stating their PAINTERS IN OIL AND WATER COLOURS (the eleventh) AT THE GREAT ROOMS, SPRING GARDENS. Our general opinion of this meritori ous exhibition having been already expressed in June last, we shall now proceed to finish the enumeration of a few of the leading pictures, which we began in that number. No. 114, Library of Christchurch, F. MACKENZIE. 124 and 125, Durham and Bishops Auckland, G. F. ROBSON. 138, Pevensey Castle, Sussex, J. GLOVER. 160, View of Oxford from Headington Hill, W. TURNER. 167 and 168, Cottages and a River Scene, Mr. MULREADY. 170, The Fair in Hyde-Park, 1st of August, J. STEPHANOFF. 176, A View in Cumberland, looking eastward over Thurlspool-the Moon rising from the foot of Helvellin, N. T. FIELDING. 187, A View of Langdale: the Pass over Wrynose Head in the distance, from near Ambleside, Westmoreland, by C. V. FIELDING, is one of the best landscapes in the exhibition. 204, Capture of the French Artillery and Baggage at the Battle of Vittoria, J. A. ATKINSON. 227, View in Borrowdale, C. V. FIELDING. 235, From the Head of a Stag modelled by Himself, R. HILLS, 246, Girl going to Market: 60 Exhibition of Paintings in Oil and Water Colours. Binstead, Isle of Wight: J. CRISTALL. 248, View in Salisbury Cathedral, C. WILD. 266, A Cricket Match, P. DEWINT. 267, A View in Hyde-Park, representing his Royal Highness the Prince Regent, accompanied by their Majesties the Emperor of Russia and King of Prussia, Marshal Blücher, Hetman Platoff, &c. &c. after the Review on the 20th June, 1814, A. SAUERWEID. 275, Sir Toby Belch, Sir Andrew Aguecheek, with their Licentious Companions, carousing in the House of Olivia, J. STEPHANOFF. 280, Interior View of York Minster from the North Transept, J. C. BUCKLER. 298, The Close of the Chase; the Stag taking Soil, R. HILLS. 304, Shepherds Conversing, J. CRISTALL truly pastoral and Arcadian, reminding us of the "Tityre tu patula recubans sub tegmine fagi," of Virgil. 330, Warwick Castle, C. V. FIELDING. 337, A Polish Lancer, J. A. ATKINSON. EXHIBITION of a PORTRAIT of MISS O'NEILL, in the Character of Juliet, and other PICTURES painted by GEOrge DAWE, ESQ. R. A. at his House, 22, Newman-street. This excellent artist opened his house, a short time ago, with an exhibition of a new portrait of the above celebrated actress, which was not finished in time for the Royal Academy, and several other pictures painted by himself in the last six or seven years, most of which having been exhibited in the Royal Academy, are well known to the public; but as some are new to us, and none have been at all noticed in our work, we shall give a short detail of them. Juliet is represented in the balcony, at the moment of her well-known soliloquy, when, as Romeo expresses it, "she f lays her cheek upon her hand." The light that from her window breaks is above her head, and forms a fine contrast with the moon, "that tips with silver all the fruit-tree tops." The night is represented as clear and as calm as lovers could possibly wish, and the stars shine in resplendent lustre. The attitude is beautiful and well chosen, the drapery sweetly cast, and the accessories appropriately chosen and well painted. It is not too much to say, it is altogether the best portrait of this fascinating actress that has yet been painted, and forms, with her attractions, (and to her is much of the merit due,) one of the sweetest personifications of Shakspeare's lovely Juliet that we remember to have seen. HAYDON'S Juliet, who was all ideal, and sublime ideality is the cha [Aug. 1, racteristic of his pencil, possessed more character; and SHEE's Portrait of the late Mrs. Pope, in the same character, perhaps more beauties of another description; yet the beauteous O'NEILL furnishes in herself such an illustration of this loveliest of female dramatic characters, that he must be a driveller indeed who could not have produced something praiseworthy in her portrait. The rest of the pictures we shall take seriatim, and notice with brevity. We shall, therefore, commence with the historical pictures in the back drawingroom; the first of which is, Achilles, frantic for the loss of Patroclus, rejecting the Consolation of Thetis, Homer's Iliad, lib. xviii.-This picture gained the gold medal of the Royal Academy in the year 1803, and must therefore be judged only as a youthful effort, yet it possesses incipient beauties in no small degree. Imogen found at the Cave of Belarius. Thus smiling as some fly had tickled Cymbeline, act iv. scene ii. -To this picture the historical premium was awarded by the British Institution in 1809, and it is now in the possession of Henry Philip Hope, esq. Andromache imploring Ulysses to spare the Life of her Son: a study for a picture in the possession of Thos. Hope, Esq. "The Grecian fleet, after the destruction of Troy, being detained by contrary winds, the priest declares that they will continue unfavourable as long as one of the race of Priam remains. Ulysses is accordingly sent in search of Astyanax, whom he finds concealed in the tomb of Hector; unmoved by the supplications of Andromache, he orders a soldier to bear the child away." Troades of Seneca, act iii, scene 3. The action of this interesting event is well depicted, and the various passions that agitate the principal well expressed. A Study for a Picture of a Negro overpowering a Buffalo, in the Possession of Robert Holford, Esq. and to which a premium was adjudged at the British Institution, 1811. A Sketch of a Negro contending with a Bull.-This fact occurred in America in 1809, and gave rise to the fictitious subject of the last. They are unpleasing subjects, but excellently managed. A Study of a Maniac from Nature.To this the samne observations apply. * 1815.] -Mr. Dawe's Exhibition. A Sketch of a Demoniac, from St. Mark, chap. v. ver. 3 and 4.This ter rific subject is well expressed. Portrait of Philip Howarth.-This is the portrait of a well-known child of extraordinary size and strength, in the character of the infant Hercules, at the age of four years, when he measured 4 feet in height, weighed 58 pounds, and had strength to lift 140 pounds. The drawing, colouring, and arrangement of this picture, are truly excellent. Genevieve, from a Poem by S. T. Coleridge, entitled "Love," published in Wordsworth's Lyrical Ballads. The poet can here have nothing to complain of, for the interest that he has transfused into his tender lines lose nothing by the painter. The ardent love of the youthful bard, and the modest grace of his "Genevieve," are alike well pourtrayed. Sketches for the Picture of Genevieve. A Drawing of S. T. Coleridge. A Bust of Ditto. A Child rescued by its Mother from an Eagle's Nest.-It is within the memory of some of the oldest inhabitants of a mountainous district in Scotland, -that, impelled by maternal solicitude to recover her infant, which an eagle had borne away to its nest, a mother climbed to the very topmost crag of a cliff so steep and terrific that the hardiest birdcatcher in that region had pronounced it inaccessible. She succeeded in bringing off the child before it had received any material injury; the bird hovering round her during the attempt, but not offering in any way to molest her. The heroic act above related is painted with a perfect fidelity, and forms a fine composition. The fearless frenzy of the mother, and the ignorant security of the child, with the half terror of the disappointed eagle at the mother's boldness, are deserving of the highest praise. A Sketch for a Portrait of Mrs. Hope and Son. A Sketch for a Portrait of Mrs. Chas. Hammersley and her Daughter. This picture was exhibited at the Royal Academy, 1813. A Sketch for a Portrait of Mrs. S. Cowley and Son. This was also exhibited at the Royal Academy, 1814. A Sketch for a Portrait of Mrs. J. E. Eardley Willmot and Daughter. This was also exhibited at the Royal Academy, ? 1814. Whole-length portraits of Mrs. White. Mrs. Hope. Mrs.Eardley Wilmot and her Daughter. Mrs. S. Cowley and her Son. .61 The whole of which have been exhibited at the Royal Academy. Portrait of Master Biddulph. This is a composition of a single figure in the character of the infant St. John. Half-length portraits of Mr. Flight, who built the celebrated organ for the Duke of Leicester, Lord Kirkwall, and others, which played by machinery. Rev Dr. Parr, in his clerical dress. Mrs. Hodgkinson. John Haslam, Esq. author of "Observa- The Lord Eardley. Philip Howarth. following are now in the hands of the engraver. Imogen. Miss O'Neill. Mrs. Hope. Mrs. J. E. Eardley Wilmot. INTELLIGENCE. ROYAL ACADEMY.-The Academy of the living model opened to the students for the present season on Monday, the 3d July, and the Antique Academy and Library, on Monday the 10th. Probationers for studencies may now be admitted, subject to the rules and regulations of the academy, which may be seen in our magazine for February last. t Mr. WEST, the President of the Royal Academy, has just finished another picture, from the sublime subject of" Christ healing the Sick in the Temple," for the General Hospital at Philadelphia, in lieu of the one so patriotically purchased by the British Institution, which was originally intended for that purpose, and has added it for a short time to his interesting exhibition in Pall Mall, of his magnificent picture of "Christ rejected by the Jews," and other works. Mr. BURNET has announced a new print from a celebrated picture of Rembrandt, of which, from the well-known fidelity of his burin, particularly in the close imitation of the style and touch of his original we may safely augur well. It shall be noticed on its appearance. |