cence, like a vast map before the eye. Summit-The fatigue of ascending is now lessened by the diminution of the steepness; and our attention, on reaching the summit is soon attracted from the broken rocks on which we are treading, to the boundless prospect which bursts upon us, all around. Of this sublime and unrivalled scene, elevation, immensity and extent are the leading characters that give the whole its interest. The parts, indeed, appear on too vast a scale to constitute beauty, and the individual objects which contribute to this effect, are too remote to be distinctly seen. Mountain ranges in every direction, aud huge masses of arid rock, intermingled with extensive water surfaces, compose the principal features of the view: which here ranges from the Murray Firth, and the mountains of Ross and Sutherland on the north and north-east, to Ben-Lomond on the south, and the island of Colonsa, on the south-west, including a distance of nearly 180 miles. A new effect in the way of embellishment, is thus produced. For besides the ordinary groups in an alpine landscape, lakes, islands, and the great occan enrich the prospect, and fill the eye with a picturesque variety, which is wanting in the grand central view from Ben-More. The vast hollow which stretches from Fort-George to the Sound of Mull, and along which the Canal now begun is intended, form a communication betwixt the northern and western ocean, is seen at-once in all its extent. Among the mountains, the most conspicuous are Ben-Wyvis in Ross-shire, Cruachan, Bendoran; Ben-More in Mull; and Schiballion to the east, which, viewed from this position, appears more insulated, than in any other direction, and shows the proMay 1812. priety of its being selected by Dr Maskelyne for his experiments on gravitation. With all this diversity of magnificent and striking objects to feast the eye, and captivate the mind, the prospect from Ben-Nevis can scarcely be equalled or at least exceeded in majesty and grandeur; it. presents a scene on which the imagination may dwell with delight, but of which it is difficult by mere description to convey a just idea.-The feelings excited at this commanding elevation, are not, however, entirely unmingled with sensations of a different kind, when we take our attention from the objects at a distance, to the spot on which we stand. On looking beneath us, a few paces from the sum mit, we see the edge of a frightful precipice, which cannot be approached without caution, and from which the boldest must shrink with terror. What adds to the danger of the trembling spectator, the edge itself is wholly composed of loose fragments, which a little pressure. is often sufficient to displace, and, when of any considerable size, their own weight soon urges down the precipice, with a rushing noise and tremendous crash. This sound, produced by the rattling of the stone, as it impinges successively, during its fall, on the projecting points of the perpendicular rock, is reverberated among the surrounding cliffs, and filling the vast adjacent cavity, thunders along the valley below. The effect accordingly on the ear, is grand and impressive ; and has occasioned a common but perilous amusement, of heaving stones from the top of the precipice into the dreadful abyss. It is evident, that in the course of being reduced to its present fragmented state, the height of the rock which forms the summit, and consequently of the whole mountain itself, itself, must have suffered a considerable diminution. Still BenNevis, as is well known, overtops the whole of its neighbours, although many of them are very high. In looking from the summit, on those particularly which lie to the south, it is impossible to avoid being struck with the resemblance, which, from their peculiar shape, they bear to the waves of the ocean agitated by a violent tempest. Such an appearance may give birth in the fertile imagination to a variety of curious geological conjectures. The effect, also, of elevation in diminishing apparent distance, is extremely sensible from Ben-Nevis. Thus, the islands towards the sound of Mull, although at the distance of thirty miles, seem as if placed under our feet. I may further remark, that so far as I could judge from my own sensations, the rarity of the air at this altitude, had no perceptible influence on respiration. Its effect, indeed, must very frequently be counteracted by a circumstance, which probably is not duly attended to, or remarked; that the agitation of the atmosphere, either sensibly or imperceptibly, by those causes which produce its motion, may occasion a state of it, different from what would take place, were the equilibrium according to the laws of statics, to exist as in perfect stillness. The state here alluded to, resembles that which is produced, by shaking together liquors of different specific gravity; the heavier particles may occupy in turn, the higher place, while the motion continues, and a sort of medium denisty may be the result. Observations on the Fifth Exhibition of Paintings in Edinburgh. '(Concluded from page 248.) N° o. 19. Study of a Cottage at the Pleulands-J. E. Woolford. This is a drawing in water-colour. It is but justice to Mr Woolford to say, that he is rather improved since last year. His picture, No. 143, Composition Mountain Scene, is, perhaps, the best of the host of those he has produced. No. 55, Sunsetting. We are completely at a loss to know in which quarter of the globe Mr Woolford has discovered so marvellous a representation of Sun-set as he has here exhibited. Every boy at the Academy knows, or, ought to know, that a warm effect in a picture is produced, by the opposition of cool shadows to the lights: but Mr Woolford's doctrine, however, seems to be different. For our part, unless all kinds of yellows soon rise to the price of ultramarine, we must despair of ever observing any considerable improvement in this gentleman. His pictures seem to be painted chiefly for effect at a distance; it therefore occurs to us, that the very imposing manner in which they are arranged in the room is extremely prejudicial to them. No. 22. Frame, containing Models, by Mr Morrison. We observe, with much pleasure, the great improvement of Mr Morrison. These models possess considerable spirit, and are reputed good likenesses; but to the costume a l'antique preference is due. We cannot help deploring his hard fate, when reduced to the dire necessity of complying with the vitiated taste of his employers, in giving colour to any of his models. No. 27. Model of D. H. Rucher, Esq. and No. 30. Mackie, Esq. J. Henning. J. Henning. We have always considered the small models of this gentleman the happiest efforts of his genius; and as he is now in London, for the purpose of improvement in his profession, we have little doubt of his reaching the highest eminence in this limited department, by improving his taste in the contemplation and study of the various relics of antiquity that are to be found in the capital. No. 34. View of Glentarf, from Kirkcudbright-A. Nasmyth. When we reflect on the number of gentlemen who have arrived at great eminence in their profession (besides those in this place connected with the exhibition) who are indebted to this master for their knowledge of the first principles of art, and considering the estimation in which he has been justly held for a long series of years in this country, we conceive that a tribute of more than ordinary respect is due to such a man, who comes forth in this public manner to lend his aid in support of the institution. We are induced to express this opinion, in consequence of observing, with regret, that the greater part of his pictures have been placed in very unsuitable situations, whilst other very inferior productions are in a line with the eye. Besides this view of Glentarf, we have several good specimens by Mr Nasmyth; in the first instance, we shall select the view of Edinburgh, No. 64. This picture is a faithful representation of the place, and the point of view exceedingly well chosen. In scenes of this description, where minuteness is requisite, we think Mr Nasmyth peculiarly happy. The aerial perspective is well preserved, and the whole harmoniously coloured. The figures are tastefully introduced and neatly executed; in short, we conceive this picture to be a most desirable specimen of the master. There is, however, a sameness in his works, which is much too evident when a number of them are brought together, and puts us more in mind of the routine of daily business, than of the appearance of nature, which is constantly varying in her effects. No. 36. A Man driving a SowA. Carse. We are sorry that this picture is the first of Mr Carse's that has presented itself to our notice, in the order of the catalogue, since it appears a very inferior production, and we cannot allow our selves to suppose it held up as a fair specimen of the artist's abilities. Mr Carse would do well to avoid exhibiting such things in future, as it undoubtedly tends to hurt him in the estimation of the public. It gives us pleasure, however, to allude to No. 147. Country Alehouse. The composition of this picture is excellent, and we are fully disposed to offer the same tribute of praise to the general tone of the colour, which, with the judicious management of the light and shadow, renders this picture a very desirable specimen of Mr Carse's pencil. No. 161. The Country Relations. The preference which this picture seems to obtain in the eye of the general observer, over all others exhibited by this artist, proves the truth of a remark offered in our preliminary observations. In familiar life, there are various other speci mens of Mr Carse's, besides those we have mentioned, in many points deserving approbation, and we recommend him to continue to pursue this department of art,since it appears to be his forte; but we cannot close these remarks without directing his attention most particularly to the detail of his pictures, on which so much of the excellence of this style depends. No1 No. 38. Portrait of Mrs Major Hay-G. Watson. This is a very excellent specimen of this artist's pencil, fairly painted, and, we are told, exhibits a striking likeness of the lady. No. 67. Portrait of a young Lady, This is perhaps one of the best pic tures that ever came from Mr Watson's easel. The air and colouring of the head is admirable, but there appears a little hardness about the neck. When portraits are successfully treated in this manner, they become extremely interesting. The painter undoubtedly ought, at all times, to have his choice both of the dress and attitude of his sitters, and to this cause may be attributed the superior excellence of this picture. No. 70. Portrait of Mrs General Macleod. This picture (a whole length) occupies one of the most prominent situations in the room, and we earnestly wish it had been of that class to which we have just now adverted. The stiffness of the figure is very objectionable, and, in this instance, leads us to suspect, that Mr Watson has derived his ideas of altitude from his lay-figure. The harmony of the colouring is equally deficient, and the darkness of the back-ground produces a heavy and leaden effect. No. 187. Lady Elizabeth Macgregor Murray, and Child. This is another whole length, in which we are pleased to perceive that more talent is shewn. Still there is much to be done in the conduct of a picture of this description before the same degree of praise can be bestowed on it, which his smaller pictures so eminently deserve. No. 79. Portrait of A. Skirving, Esq. This is a very strong resemblance of that gentleman; the attitude, as Mr Skirving would say, is degagée, but there is a remarkable effect of poverty in the colouring, arising, perhaps, from the dress. No. 131, This is a head (asleep in the present case) which Mr Wat son has painted frequently, and treated with considerable success in his fancy pictures. We commend his assiduity and perseverance in painting subjects of this description, as it affords him more opportunity of entering into detail, and acquir ing that intimate knowledge of na ture, so useful in his profession. The colouring and rounding of the head is extremely good; but there is a want of nature in the reflected lights, which, being so powerful, interfere with the effect of the principal light. Equal pains ought to have been bestowed on the hand, which is very badly drawn, and in it there is a total want of that attention so commendable in the painting and marking of the head. No. 145. Mrs Robert Campbell and Children, an Apotheosis. The heads of the children are beautifully painted, and possess much sweetness in expression; but the design of the picture is by no means good, and the small size of the canvas gives a crowded appearance to the figures. In some of Mr Watson's pictures we discover considerable negligence in drawing the figure, which is very remarkable in the hands and arms of this lady; and, when standing before this picture, we longed for a passing cloud to envelope these defects, and hide them from our eyes. There are several other good portraits exhibited by Mr Watson, and we feel infinite pleasure in remarking the great improvement this artist has made since last year. No. 39. Hebridian Merry-making, a sketch for a picture-D. Somer. ville. Although Mr Somerville has modestly introduced this performance to us as a sketch, we shrewdly suspect that the whole force of the artist has been exerted on it; if we can judge by his picture of the Rustic Politicians, exhibited last year year, or that finished specimen, No. 51, Banditti, in the present exhibition. Mr Somerville has, however," two strings to his bow;" for he has presented us with No. 86, Head of Rev. John Logan, F. R. S. to show his powers in engraving. No. 40. Portrait (head size) of a Gentleman-H. Raeburn. It is with the highest pleasure that we have now to take notice of a man who would have done honour to any age, and whose exertions lately received the public compliments of the present venerable President of the Royal Academy. In the metropolis, where true merit is always acknowledged, we understand this master's fame is equally admitted as in his native place. This artist's works, in the present exhibition, shew that his improvement keeps pace with his increasing years; and although we cannot allude to all of the excellent pictures he has exhibited, we shall proceed to select a few of them that will best suit the purpose of our criticism. We think this picture (No. 40.) one of the most fortunate specimens of the artist's abilities in this exhibition. The features are beautifully marked, and there is a general tone of colour over the face extremely pleasing-entirely wanting that mixture of yellowish and purple tints the artist seemed so fond of some years ago. The likeness is happy, and, taking it all in all, it is really the portrait of a gentle man. No.41. Portrait of a young Lady. We think we never saw childhood more correctly represented than in this beautiful little picture; indeed, we would be almost tempted to rank it, in regard to character, with the best performances of Sir Joshua Reynolds, and we only regret the appearance of a little negligence in the finishing of parts of it, which, we are afraid, will appear even more prominent when taken from the exhibition room. No. 52. Portrait of the Earl of Roseberry, (full length). Although Mr Raeburn has done every thing in his power for this picture, the subject is certainly very unfavourable for a whole length. The union of robes of state with a brown scratch wig has rather a ludicrous effect; still we would by no means recommend the hat and feathers to be substituted in its place. We are glad, however, in having an opportunity of seeing this picture, as it shows the great abilities of Mr Raeburn in conducting a large work, and also of unfolding his powers of colouring and effect. No. 59. Portrait of a Lady. This picture we think one of Mr Raeburn's most happy efforts, and displays all that delicacy so well suited to painting the fair sex. There is a great improvement in the artist in this respect; for, till lately, he practised in such cases his firm, bold manner of painting, which is more adapted in expressing the character of the other part of the creation. There is a very great darkness, `or rather blackness, in the back ground, and a want of finishing abous the drapery, which does not accord well with the sentiment of the rest of the picture. No. 68. we think a picture equally deserving praise. No. 108. Portrait of a Gentleman. This is a very excellent picture, and we select it particularly, as it gives a complete idea of the artist's style of painting, in regard to colour, finishing, and effect. No. 109. This is hung so completely out of the reach of the human eye, that it would be absolute injustice to Mr Raeburn to attempt criticism in its present situation. No. 125. In Mr Raeburn's desire to take the most natural attitude of every figure, we are apt to think him too easily pleased, and too |