censure no exuberance of imagination, in works whose subjects are professedly creatures of fancy. Ghosts, witches, and hobgoblins, with all their apparatus, Caliban, Puck, and Ariel, extravaganzas though they be, yet if admitted into poetry, are, by equal authority, admissible in design. When we are pleased, we scruple not to avow it. Of whatever kind be the merit of a picture, if it be analogous to its subject, we are gratified in praising it; and happy should we have been to have praised the merit in the Shakespeare Gallery, had it been a thousand times more than it was. It is buoying up the artists in delusion, to say, that Messrs. Boydells received justice in that undertaking. We are aware of unfavourable circumstances, which operated to the injury of the concern; but these should have been counteracted, by zeal, diligence, and perseverance; by the display of original and disinterested talents, actuated by a vigour superior to opposition, and determined to rouse even insensibility itself to applaud. Did this sentiment animate the artists? Alas! no: and yet; when their performances came to the hammer, and the public fixed their prices, they smothered the convictions which they ought to have felt. There is another cause of great injury to the arts, which every amateur must sincerely regret: we mean, the cynical censures passed by artists on each other. A sculptor praises beauty, which may be examined on all sides;' and slily hints at the convenient shadows and demi-tints of painting.' The history-painter descends, with great caution, from the sublime of art, to commend a portrait, the merit of which is resemblance. The portrait-painter in oil, scouts the very idea of merit in water-colours. "As large as life may excel: but who can value miniature-baubles ?” While each finds so little deserving of applause in others, the public agrees in opinion with them all, and combines their separate decisions into one. Precisely in the spirit of these observations, is the pamphlet before us, written by Mr. Watts. He complains, that " it has been for some time a fashion with painters in oil, to entertain, or at least to express, the most sovereign contempt for miniature painters, p. 1. From the superior world in which they fondly fancy themselves placed, they look down with ineffable disdain on such little groveling souls, p. 2. He proceeds to examine, with what propriety Mr. Shee, in his Rhymes on Art, describes miniature as the refuge of blockheads: Blockheads, pursued through every nobler shape, Mr. Shee has, indeed, affected to apologize in a note for this severity; but he has little diminished the offence given in his animated verse, by describing this branch of art, in sober prose, as "the refuge of imbecility;" a receptacle for the poor and disappointed in art ;" for " manufacturers of faces. Mr. W. defends his department, by observing, that, "To produce a good miniature, as well as a good portrait, various excellencies should be united. Fidelity of resemblance, dignity of cha racter, elegance of attitude, force of light and shade, beauty of colour, all must combine to constitute a fine picture, whatever may be its dimensions." pp. 14, 15. "To single out any class for exclusive animadversion, is irreconcilable with the principles that ought to influence every one; it is peculiarly ir Cc2 reconcilable reconcilable with the principles that ought to influence an artist, who is remonstrating with the public on the paucity of encouragement that the arts suffer, and whose sentiments, from the elegant manner in which they are expressed, must be generally diffused among those who are, or ought 'to be, the patrons of merit, under whatever shape, or in whatever dress, it may appear." p. 24. Any study in which shining talents have been voluntarily employed cannot be a very undignified one; and although it would be too much to say, that different studies, prosecuted by men of equal talents, become completely equal in rank, it may safely be affirmed, that no very violent inferiority is attached to any of them. Among the many causes of dissension in society, the disposition manifested by a few to assert a fictitious superiority over the rest, is not the least prominent. This love of extravagant depreciation, it was that induced even Michael Angelo to exclaim Oil colours ate fit only for women and children! The arts and sciences form a free republic." p. 28. We should not have been displeased if, while vindicating his own branch fof art, Mr. W. had manifested his liberality, by a few words, in behalf of another, which, though it must be considered in the degrading light of a trade, yet is placed below its proper rank in the Royal Academy: an institution which should regard merit solely, and should foster it wherever it is found. The Academy graciously admits, from the whole body of engravers, six associates; the lowest degree in this establishment! Never can these unhappy artists aspire to the dignity of R. A.; never can they enjoy a voice in the deliberative assembly of the body. Incapable, as men, of distinguishing right from wrong, on questions of general conduct; incapable, as artists, of so much skill as appertains to a member of the Hanging Committee! And to mark this contempt of engraving more decidedly, the R. A. received Mr. Bartolozzi as a painter! the last of painters, instead of the first of engravers! It is, however, notorious to all the world, that the superior artists have owed their principal employment of fate years to their inferiors, the engravers. Mr. H. owns, and laments it. Might it not be asked, in turn, why then did not the R. A. by its liberality of conduct, invite a correspondent liberality from the engravers and printsellers, now their patrons? Would the council of the R. A. have been dishonoured by the admission of Mr. Alderman Boydell to a seat in it? Was it impossible, that the noble ideas which he must needs have heard communicated in that assembly, might have elevated his mind, and have influenced his patronage? Would the names of Woollet, Strange, Hall, Vivares, (not Vivaret) have disgraced the list of R. A.'s? sensible of the justice of this imputation on the academy, the worthy secretary hints at it, in a note, p. 125. Mr. H. from a lapse of memory, we presume, for we cannot attribute it to design, describes the institution of the R. A. as "the first measure of high authority, which tended to rescue the arts of design in England from their almost proscribed state, from the ignominy of total public neglect:' but we might ask, was not the royal charter, which incorporated the 'Society of Artists of Great Britain," a measure of high authority? and was it not previous to the R. A. which is a secession from that body? Did not the act of parliament, called Hogarth's Act, by establishing a copyright in prints, tend to rescue the arts of design from ignominy ? We We have spoken our sentiments freely, because we wish well to the arts, and would favour every rational and practicable expedient for their encouragement. We esteem them (to adopt an expression of Mr. Burke)" as "the Corinthian Capital of polished Society:" but, the Corinthian Capital itself, if misplaced, is disgusting; and were it incapable of being regulated, it must be rejected. We turn therefore with pleasure to the BRITISH INSTITUTION, and are happy to find a list of subscribers, comprizing some of our noblest names, with the King, as Patron, and the Prince of Wales, as Vice-Patron. This is as it should be; and were our influence among the nobility equal to our wishes, the list should soon be considerably enlarged. What gratification can à nobleman expect from art, unless he patronize Artists? Magnificence becomes nobility, and the arts are the source of magnificence The following are some of the principal regulations of this institution: "The primary object of the British Institution, under his Majesty's Patronage, is to encourage and reward the talents of the artists of the United Kingdom; so as to improve and extend our manufactures, by that degree of taste and elegance of design, which are to be exclusively derived from the cultivation of the fine arts; and thereby to increase the general prosperity and resources of the Empire. It is conceived, that such an institution is of peculiar importance to the United Kingdom at the present moment; when efforts are making in different parts of Europe to promote the arts of painting, sculpture, and design, by great na tional establishments; and thereby to wrest from us those advantages, which can only be retained by a pre-eminence in the fine arts. "With a view to this object it is intended to open a Public Exhibition, for the sale of the productions of British Artists;-to excite the emulation and exertions of the younger artists by Premiums ;-and to endea vour to form a Public Gallery of the works of British Artists, with a few select specimens of each of the great schools. "The exhibition is to be exclusively confined to the productions of artists of, or resident in, the United Kingdom; and the higher branches of painting, sculpture, and modelling, are to be considered as the preferable subjects of premiums, and of purchases for the gallery. All other works, however, of the above-mentioned artists will be admissible, if deemed worthy." pp. 3, 4. "The government of the institution is vested in the present subscribers and contributors of 50 guineas, or upwards, to the funds of the institution, together with such other persons as shall be elected governors as aftermentioned. Those who have subscribed 50 guineas, or upwards, and less than 100 guineas, being governors for life; and those who have sub.. scribed 100 guineas, or upwards, being hereditary governors." p. 5. "Subscribers of five guineas a year or upwards, or of 50 guineas or upwards in one sum, shall have personal admission, and the right of introducing two friends each day, to the exhibition and gallery. Subscribers of three guineas a year, or of 30 guineas in one sum, shall have personal admission, and the right of introducing one friend each day, to the exhibition and gallery. Subscribers of one guinea a year, or of 10 guineas in one sum, shall have personal admission to the exhibition and gallery." pp. 10, 11. Cc 3 This This institution has purchased the lease of the Shakespeare Gallery, at the price of 4,500l. We protest against making a gallery of arts a toy-shop, a gossip-shop, or a print-shop; nevertheless, having visited this exhibition, we could not but remark the absence of architectural designs: yet Architecture is of the first importance, and this gallery would be an extremely convenient place for ascertaining the merits of particular compositions, and the general progress of style and manner. Why should not this gallery include also those more considerable and laborious undertakings of the graver, which justify national attention and recommendation? Why, indeed, might not their actual state be here submitted to their subscribers? Neither could the skill of an engraver be otherwise than stimulated, by the knowledge, that this institution would furnish opportunities of public comparison between the original and the transcript. Many other advantages to general merit, in various departments might attend this institution. To speak of its present state :-the Gallery is very respectably filled: it contains 257 performances, a greater number than the first exhibition enumerated; and from its present laudable beginning, there is no foreseeing how great may be its future importance. If a fifty years recollection of art and artists, may be supposed to have ripened our judgment; if a knowledge of some of the interior events, by which, unhappily, the profession has been divided, may confer the privilege of advising; we do earnestly recommend to youth trained up for these studies a more extensive knowledge, a more liberal education, than is common ainong them. In ancient times, "no slave might practise as an artist." Ignorance is little other than slavery, though we freely acknowledge, that the worst of slavery is that in which the passions are the tyrants. Genius may be eccentric, but why must it be immoral ? And where shall we seek for proofs, that the arts ennoble the sentiments, and assist the religion of a nation, if not in the conduct of those whose lives have been devoted to these studies?-Artists must, in the first place, be just to themselves; they must dignify art by a proper subordination of her labours to principles whose service is honour. Nothing can so happily accomplish this, as the union of genius with virtue, morality, and decorum-a union which every man of taste and integrity must welcome and applaud. Art. XXI. PORTUGUESE LITERATURE. Foyage en Portugal, &c. Travels in Portugal; by the Comte de Hoffmansegg, edited by M. Linck, and forming a Continuation of his Travels in that Country. 8vo. Vol. I. Paris. Price 4 fr. THIS Volume demonstrates the advantage of friendship among men of letters. Instead of harshly censuring any errors which might have escaped M. Linck, in his account of Portugal, and which the Comte by means of more accurate information had detected, he has committed his papers to the revision and care of M. L. who thankfully avails himself of them, to rectify some accounts, and to verify others, which he had given to the public. We have, therefore, in this work, the result of observations made, not by a single traveller merely, but by both the Author and the Editor. The The Kingdom of Portugal is divided into six provinces. The Province of Tra los Montes, so called, because it is beyond the ALountains, from Oporto, is remarkable for its continued masses of rocks, The city of Braganza deserves notice, only as having given title to the present reigning family. Mirandella is situated in a valley famous for mildness of air, fertility of soil, and beauty of aspect. Villareal adds, to similar advantages, a considerable commerce. in most parts of this province. 6 Trees are extremely rare In the province of Entre Minho e Douro, between the rivers Minho and Douro," is the city of Guimaraens, one of the most considerable of the kingdom; and where the houses have windows to them; which is quite a rarity in most of the lesser cities in Spain and Portugal. The hotbaths of Gerez are in the neighbourhood of this city. They are more frequented for the amusements they combine, than for the salubrity they possess, though their medical virtues are in great repute. The Minho, compared with other provinces of Portugal, includes a considerable number of towns: yet a part of its population resides in scattered dwellings, and these produce one of the greatest enjoyments the province affords." The traveller, while passing along the beautiful valleys which occur very frequently between the mountains, is never distant from mankind. The houses are continued almost without interruption; a perpetual shade excludes the sultry beams of the sun, and limpid streams diffuse a most delightful coolness. The province of Beira is small: but its vallies are fertile in grain, fruits, and pulse. On each side of these charming descents, rise mountains; on which, Nature on one side, and Penitence on the other, display their utmost rigours. The rocky chain of the Estrella, by its eternal snows, its furious cascades, and its deep precipices, combines the interesting horrors of the Alps and the Andes. The convent of Bassano, situated on the ascent of one of the highest mountains of Minho, is inhabited by Carmelites of the order of Marienos. The approach to this seclusion is marked by a number of crosses; the external wall is decorated throughout with images of death: sculls and bones, represented by stones, black and white. A thick wood embosoms the Convent, the paths of which serpentine in various directions; and terminate, now at a chapel, now at a crucifix, now at an altar concealed among the bushes. The ground and the trees are covered with a verdant moss rills, rushing from the rocks, disappear among the clumps of trees majestic cypresses of the date of two centuries, high rising pines, and oaks of venerable antiquity, clad with ivy, compose this sacred forest. The monks consume many hours of the night, as well as of the day, in prayers and chants. They never taste animal food: they are permitted to speak but once in fifteen days, and then, while taking their evening walk. The Prior alone, being obliged to entertain strangers, is exempt from this regulation: and, as strangers seldom visit this convent, M. L. informs us, that, in their company, he makes himself ample amends for his previous silence. Estremadura is principally deserving of notice, as containing the city of Lisbon, the capital, not of the province only, but of the kingdom. What information M. L. gives, which lays any claim to novelty, is little calculated to lull the inhabitants of this royal residence. He saw, indeed, no traces of basalt, or of any volcano, within the precincts of the |