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works they begin. The paper de Medici. The two ståtues of and impression were very beauti. the family of Niobe (the second ful, but the form appeared rather daughter and the son, who lies too long in proportion to the dead and extended on the ground,) breadth. The collection will together with other pieces which form twelve volumes, each of had been for removed to Palermo, which will cost three sequins (about had recently been brought back,

Il. 108. English,) and the works and, to my great joy, I found them of each author will be accompani- in their former places. The stated with his portrait, engraved by uary, Santarelli, a native of Rome, Morghen. It is now the fashion who had resided, for the last ten to print the name of each subscri- years, at Florence, is one of the aber on the title of his copy, and blest artists in his line. He likewise that method will be followed with imbosses portraits in wax, and his this work. The Society likewise success in taking likenesses proprints a literary journal, which cured him abundance of employ. seldom pronounces any opinion ment during the war. He has like. where it cannot praise, and mere- wise much talent for mechanicks. Jy inserts a notice or extracts. At the house of Fabre, a pupil of The greatest part of the works of David's school, who obtained some which it treats are foreign, and distinction in the last exhibition of principally French ; the literature the Academy of Rome, before the of France being now exclusively death of Basseville, and has, since cultivated in Italy. The native that period, constantly resided at productions are so few, that a jour Florence, I saw an historical picnal, devoted only to Italian litera- ture, the subject of which is taken ture, could scarcely be supported, from Alfieri's Tragedy of Saul, especially if it were obliged to ap- and represents a vision of that pear regularly at stated periods. king, tormented by his evil con

At Florence I could not stop science. It would be difficult to longer than four days ; and what discover the subject, without some are four days in a city which, next explanation ; but the artist, in exto Rome, contains the most nu. сuse of himself, says, that he merous and the most precious chose this circumstance at the treasures of the arts, and where particular desire of Alfieri, who four months would scarcely be had much more talent for the sufficient to survey, with proper composition of a tragedy, than attention, all that is worthy of no. of a picture. I never observed in tice? I immediately relinquished any modern painter such a perthe idea of seeing every thing, and fect execution of all the parts, such confined myself to the most capital a musterly disposition of the coworks and the first-rate artists re- lours ; and in the mechanical part siding in that city. The Palazzo of his profession Fabre is indispuPitti is now scarcely worth the tably as accomplished an artist as trouble of going to see it. The can possibly exist. The plan and French carried off between sixiy ground of the picture, which comand seventy pictures, and among prise a good deal of landscape, are them all the good pieces it con- so exquisitely beautiful with regard tained. In the Gallery I missed to the disposition, colours, and not a single article, either statue proportions, that, excepting Reinor picture, excepting the Venus hart, I know no landscape-painter.

who could excel it. The same aims only at neatness and perfec.
commendation may be given to all tion, with which he charms the
the other subordinate parts of the eye of the amateur. Desmarez
piece, but does not apply to the possesses the talent of invention,
principal object : for accuracy in fire, and energy; he is partial to
the details, brilliancy in the colour- grave, pathetick,and tragick scenes,
ing, and the highest degree of per. and his colouring is suitable to the
fection in the execution, are not gravity of his subjects, but it is
sufficient to form a good dramatick rude, inaccurate, inharmonious,
picture : and those are almost and rather repulsive than agreea-
the only good qualities of this ble to the eye. He has more tal.
piece. The composition is patch- ent than art. If both agree in any
ed, the action theatrical, the ex. point, it is in that which they de-
pression overcharged, and the rive from their common school ; in
style has the usual faults of the the theatrical disposition and over-
French school ; the figures are charged expression of the postures
invariably muscular, the drapery and attitudes,in which consists the
precisely folded into a thousand real essence of the French school,
small plaits, and the light thrown and, perhaps, generally of the
upon the most brilliant colours, so French manner of considering na-
that the eye has no repose, except- ture. Desmarez, however, incon-
ing in the landscape. The car- testably possesses a genius for
nation resembles ivory, and the na- dramatick painting, and a creative
ked parts are daubed. The tone imagination, of which Fabre is
of the whole is much too glar. destitute ; only it is a pity that he
ing and lively for a grave subject. has been spoiled by his school.
At the same artist's I saw several All the compositions I saw at his
fine portraits, in which his great house, consisting principally of
mechanical merit is ably displayed. small sketches, painted in oil, were
Among these were the portraits of of tragick subjects; for instance,
General Clarke, who commands at the death of Lucretia, the death
Florence, and of the Queen of of Virginia, the death of Cæsar,
Etruria, both striking likenesses. &c. a dying Cato, as large as life,
Fabre possesses a beautiful ancient tearing his bowels out of his body,
portrait, which he attributes to Ra- is a truly horrible figure, which he
phael, and six admirable land- executed for Lord Bristol, and had
scapes, two by Caspar, two by almost completed ; but as that ec-
Poussin, and two by Annibal Ca- centrick Mæcenas of the arts is
racci, which are all in the highest now dead, he will scarcely find
preservation, and are alone a suf another customer for it. This the
ficient inducement to visit the art. artist himself apprehended when I
ist. Another French painter, nam. brought him the unexpected ac-
ed Desmarez, likewise deserves count of his Lordship's death from
the traveller's notice. He belongs Rome. It was late before Desma-
also to the French school, but a rez embraced the profession. The
greater contrast cannot exist than revolution, which has otherwise
between him and Fabre, and it is been so prejudicial to the arts,
interesting to see the former im- brought them, in him, a worthy
mediately after the latter. Fabre pupil. Before the revolution he
has neither invention for fire ; his was secretary to the French em.
whole art is mechanical, and he bassy at Stockholm, and practised


at his leisure for his own amuse- dle grounds are now of a uniform ment ; but when he lost that post, bright green, and his fore-grounds he devoted himself to the art with of a pale bluish green colour, such zeal and success, that he has which not rarely destroys the hararrived at this degree of perfection mony of the back-grounds. The in the most difficult of its branches. figures commonly introduced into He is still in the prime of life, his pictures are the shepherds, so that probably his talents may shepherdesses, herdsmen, and not yet be completely developed. cattle of those countries where he He lives entirely in his art, has a found his originals ; but the ladies cultivated undertanding, gravity of and gentlemen, with whom he was character, and yet great vivacity in frequently obliged to decorate the conversation. I should rather have landscapes which he painted at taken this artist for an Italian than Naples for the king, are intoleraa Frenchman, and to me his ac- ble, Hackert was just employed quaintance was extremely inter- upon three landscapes, destined esting. You may be sure I did for Weimer, all of which were not omit to visit our worthy coun- about half finished. It was the tryman, Don Filippo Hackert. He latter end of July when I saw him, does not indeed reside here, as he and yet he assured me that all did at Naples, in a royal mansion, three would be sent off to Weimer but he has handsome and spacious in September. Two of them, a apartments in a palace ; and the View near Rome from the Villa great number of his works, some Madama, over Pont Molle, of the just begun, others half finished or Sabine Mountains, illuminated by completed, proves him, notwith- the setting Sun ; and another of standing his increasing age, to be Fiesole and the Vale of Arno, the same active and industrious near Florence, are for the Duke artist that he has been all his life. of Weimer, and the third for an Through the immense multitude English gentleman residing in that of pieces which he has continually town. Of the other numerous in band, his art has at length be paintings of this artist, which I come purely mechanical. Hack- saw, I shall say nothing. A per: ert composes little ; he has enjoy. son can scarcely look at all Hack. ed the felicity of residing the best ert's paintings in two hours ; they part of his life in a country,where fill two spacious rooms, and form nature is so highly picturesque a small gallery. The spectator that the artist may produce a fine would be induced to believe, that picture by only copying the views, they are the productions ef severe and filling up the fore-ground, not al persons, though they are the so much from his own invention labour of his hands alone. I can. as from studies after nature. Of not, however, deny, that Hackert's this description are most of Hack. whole system has something of ert's pieces. To the poetry of the the air of a manufactory. art he never attained. His land. I should like to say a few words scapes are poetick only in the same concerning the master-pieces of degree as nature, which he copied, modern sculpture, the statues of possessed a poetick character. His Michael Angelo Buonarotti, in the distances are in general fine, and Capella del Depositi, the architec, have the genuine tone of an Ital. tecture of which is the work of the ian climate. Almos: all his mid- same artist. . But when a person

attempts to speak of the chef d'au- it is exactly this which seems to vres of the art, he feels that he augment the admiration of these ventures upon something that baf- works : you admire their magnifles description. I have seen these tude, their original character ; but works at several times, and always you are astonished at the gigantick with new, with increased admira- mind which could create such a tion, and with reverence for that world. No artist has displayed sublime genius by which they himself in his works with such were created. All capital works truth, such strength, and such uniof art possess the property, and it formity, as Michael Angelo. He is a test of their excellence, that every where appears the same, but they give the more pleasure the only at different moments and pe.. oftener they are seen, and the more riods of his life. Thus, for examthe essence of the art is in the ple, in the' cieling of Sextus's mean time developed to the ob- chapel, he appears in the flower of server. His admiration continues his genius ; in the Last Judgment to increase, the more intimate his he is a vigorous old man, full of acquaintance with them becomes. profound experience and matured Such is likewise the case with the energy ; but the blossom of his works of Michael Angelo. That genius has faded, and you may fulness of character, so distinctly perceive that his art grows old expressed, that colossal magnitude, with him. Lastly, in his two picthat boldness and energy, those tures in the Pauline chapel, we mighty forms and proportions, ir- view him, together with his art, in resisibly seize the senses, and the the weakness and decrepitude of imagination is strained to embrace hoary age. But while I am speakthe infinity of these productions. ing of the artist, I run the risk of The spectator thinks he can never forgetting his works. I intended sufficiently impress these extraor- to say something concerning the dinary performances on his fancy ; Four Periods of the Day, and his he turns from one group to anoth- figure of Giuliano de Medici (who, er, and, as if confined in a magick in the morning of life, was plungcircle, he is unable to leave them. ed into the gloomy empire of They are not figures copied from death,) which, for the living and reality, or projected on its scanty speaking expression in the posiproportions ; they are not the tion and attitude, is inimitable. ideal productions of a lively Gre- On the sarcophagus at his feet, lie cian imagination, which drew the two exquisite figures, Aurora, down to the earth Olympus with and Crepusculo. The former all its immortal inhabitants ; they shews that Michael Angelo was are the pure originals of an origin- sensible to female beauty, and al genius, which, soaring above knew perfectly well how to exreality, and despising imitation, press it ; but beauty of a sucombined the lofty spirit of the blime, of a grave character. The Sacred Writings and of Dante's charming face of Aurora is aniPoems, with the rude, ungoverna- mated by an expression of melble energy of his age, and boldly ancholy, which imparts to it a, transfused them into all his works, moving interest. The body and whose wild, imposing, and majes- limbs of this figure are exquisitely tick grandeur, is only an impres- formed and disposed. In the sion of his own individuality. And bosom, however, Michael Angelo's

idea of female beauty does not ap- there to the rude block of marble pear founded on the most perfect which serves for their basis ; but model ; for in this figure, as well where they are finished, the chisel as in that of Night, the bosom is has been employed with wonderful faulty ; the two hemispheres are ability. Michael Angelo knew not placed at too great a distance, and how to paint in marble like Canora, their form is not handsome. But but how to sketch and to model * so much the more bold, powerful, with the chisel. All the parts on and masculine is the broad chest which the light falls, and which of Crepusculo, who, as well as Day, are exposed to the view, are finishis throughout of a gigantick, co- ed in the highest degree, almost lossal nature, energetick, and won to a polish ; on the contrary, in derful, such as Michael Angelo those which recede into the shade, alone knew how to create. I can- or are otherwise withdrawn from not say much in commendation of the view, the chisel is perceived Night, though much celebrated by without any farther polish. No poets. Considered impartially, neglect appears in the form, which she is a huge caricature on woman, is every where equally perfect and presenting disagreeable forms snd complete, but merely in the parts striking disproportions, whether which are concealed ; this negliyou examine her unnaturally long, gence however, evinces the genius flat body, disfigured with folds and of a master. This liberty taken wrinkles ; or the leg, which is by Michael Angelo with the memuch too long for the thigh ; or chanical portion of his art, this the ugly bosom, or the ungraceful evident contempt for every thing position ; in which last quality she superfluous (for whatever is not is rivalled by Day, her companion essential, and at most can only on the same sarcophagus. Night please the eye) gives to his execuhas been praised because her sleeption that solemn grandeur' and is so perfectly natural ; the ex- boldness, that lofty and haughty pression of the face is certainly a character, which are peculiar to true representation of a person in his productions. But I must part sound sleep; but who sleeps in from you, ye sublime creations of such a constrained posture ?* Next the sublimest genius, who sheds to the original magnitude of these a lustre upon the age of modern figures, the manner in which they art ; I must leave the sanctuary are executed demands the admira- which incloses you, perhaps for tion of the connoisseur, and the ever. Adiell, ye noble forms ! study of the artist. The figures never may the rude hands of barare not quite finished in many barians drag you from your native parts, and still cleave here and home! And thou sublime, divine

genius! drop a spark of thy fiery

spirit into our enervated art, and That these four figures are intended to rep

inspire it anew with more solemn, Night, Aurora and 'Twilight,...we are informed

more grand, and more manly conia that, with the exception of Night, who is asleep. none of the figures bave any characteristick to confirm such a supposition,

To be continued.

resent the four times of the day...Day and

only by tradition, and it should be observed,

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