not deceived. God is not mocked.' These were the awful passages which formed a part of her Preparation, and this was the practical use she made of them.

"A dozen persons of both sexes "had their exits and their entrances" during our stay; for the scene was so strange, and the character so new to me, that I felt unwilling to stir. Among other visitors, was Signor Squallini, a favourite opera singer, whom she patronized. Her face was lighted up with joy, at the sight of him. He brought her an admired new air in which he was preparing himself, and sung a few notes, that she might say she heard it the first. She felt all the dignity of the privilege, and extolled the air with all the phrases, cant, and rapture, of dilettanticism.

"After this, she drew a paper from between the leaves of her still open book, which she shewed him. It contained a list of all the company she had engaged to attend his benefit. I will call on some others,' said she, to-morrow after prayers. I am sorry this is a week in which I cannot see my friends at their assemblies; but on Sunday, you know, it will be over, and I shall have my house full in the evening. Next Monday will be Easter, and I shall be at our dear Duchess's private masquerade, and then I hope to see and engage the whole world. Here are ten guineas,' said she, in a half whisper to the grateful Signor, you may mention what I gave for my ticket, and it may set the fashion going. She then pressed a ticket on Sir John, and another on me. He declined, saying, with a great sang froid, 'You know we are Handelians.' What excuse I made I do not well know; I only know that I saved my ten guineas with a very bad grace, but felt bound in conscience to add them to that I had before subscribed to poor Dixon.

"Hitherto I had never seen the gnatstrainer, and the camel-swallower, so strikingly exemplified. And it is observable how forcibly the truth of Scripture is often illustrated by those who live in the boldest opposition to it. If you have any doubt while you are reading, go into the world, and your belief will be confirmed.

MOORE's defence of herself and the party to whom she belongs. "I have sometimes amused myself (says Mr. Stanley) with making a collection of certain things, which are now considered and held up by a pretty large class of men, as an infallible symptom of method: ism. Those which at present occur to my recollection are as follows. Going to church in the afternoon, maintaining family-prayers, not travelling nor giving great dinners or other entertainments on Sundays, rejoicing in the abolition of the slave trade, promoting religious instruction of the poor at home, subscribing to the Bible Society, and contri buting to establish Christianity abroad. These, though the man attend no eccentric clergyman, hold no one enthusiastic doctrine, associate with no fanatic, is sober in his own conversation, consistent in his practice, correct in his whole deportment, will infallibly fix on him the charge of methodism. Any one of these will excite suspicion, but all united will not fail absolutely to stigmatize him. ` The most devoted attachment to the estab

lishment will avail him nothing, if not accompanied with a fiery intolerance towards all who differ. Without intolerance, his charity is construed into unsoundness, and his candour into disaffection. He is accused with assimilating with the principles of every weak brother whom, though his judgment compels him to blame, his candour forbids him to calumniate. Saint and hypocrite are now, in the scoffer's lexicon, become convertible terms; the last being always implied where the first is sneeringly used."

Miss MOORE's novel, as might have been expected, has given rise to some imitations, such as " Celia in Search of a Husband," &c. &c. but like the generality of imitations, they are very much inferior to the original.

MISS OWEN'S "Woman, or Ida of Athens," and Mr. CUMBERLAND'S "John de Lancaster," may be mentioned among the novels of note published in the last six months; they are, however, so unequal to some former productions of the same writers, that the sooner they are forgotten the better.

Some expectation was raised in the public mind from the "Batchelor" of Mr. MOORE, better known by the name of Anacreon MOORE; but it would be difficult, even amid the mass of modern publications, to point out one so destitute of every qualification to render it worthy

of notice.

the State of the Arts, Criticism, Patronage, and Public Taste." By MARTIN ARCHER SHEE, R. A. The beauty, polish, and energy, of Mr. Shee's muse, already so well known to the public, by his former poems, modestly called Rhymes on Art," is here exerted con amore in a heavenly cause. The notes which accompany the verses, are vigorous, original, and, in some places, most piquantly seasoned with the true salt of satire, delicately tempered with good bumour and gentlemanly language. Though occasionally severe, he never degenerates into vulgarity or abuse. We shall present our readers with the following anaJysis of his poem. After a preface of considerable humour and vivacity, in which he has considered the present state of the Fine Arts, Criticism, Patronage, and Public Taste, which subjects, he has discussed more at large in his notes; he modestly acknowledges, that "though not a regular trader, he hopes he will not be found to have gone much out of his course; and in taking leave of a service, in which he is conscious he must appear

as

"A lounging landsman, awkward at the oar," he shall think himself fortunate if his goods be not condemned as contraband of taste, and his owners should be no Josers by their speculation."-To continue the simile, Mr. Shee has not only proved himself to be a fair trader, but has furnished his customers with excellent goods, and his lading corresponds honestly with his invoice and former samples.

The first canto commences with an allusion to his former publication ;—an invocation to Taste, as the presiding power that directs the operation of the poet and the painter;-contrarieties of taste; -the student cautioned to beware of the opinions of those who recommend extremes of art, and such like important didactics. The second canto enumerates the subservient studies necessary to the formation of a painter;-the comprehensive character of painting, as including and commanding all the departments of taste;-origin of Grecian elegance in sculpture ;-description of their most beautiful statues;—address to the spirit of ancient Greece, &c. &c. The third canto is appropriated to the student's review of his progress;-cautioned not to be too sanguine, or to presume too much on premature talents;-some excellent exhortations; the history of the different schools, and character of their greatest supporters The fourth canto recom

land, who ridicules the fondness for dirty antiques, armless trunks, emperors without noses, and gladiators without legs— those amateurs and virtuosi who admire antiques only for their antiquity. "I wonder" says Mr. C. " that they do not run counter to the canons, and marry their grand-mothers. Happy is the painter, who has a smoaky chimney; for by how much bacon is better than fresh pork, by so much is a dirty canvas superior to a clean one." The third number begins with the Editor's consideration, analysis, and somewhat of a review of a letter from Mr. Elmes, on Monumental Records, who in it forcibly condemus the apathy of the present age to the memory of our illustrious countryman Sir Christopher Wren. A paper on the three principal methods of mental improvement, Analysis, Analogy, and Arrangement, from an unacknowledged contributor, whose "highly sensitive mind, (the Editor delicately hints,) is since unhappily estranged from that order of which it so strongly felt the beauty." Mr. West's excellent letter, with some slight alterations and additions by himself, to the Committee of the Northern Society for the Encouragement of the Fine Arts, and which should be in the hands of every lover of British art; with some reflections on the value of the possession of Lord Elgin's exquisite collection of Greek marbles, by the Editor; occupy the fifth number: and a paper on Uniformity of Character of Nature, by Mr. Cavallo, the sixth. The seventh contains an extraordinary paper by Mr. Northcote, called the history of a "Slighted Beauty," in which, in a kind of romantic allegory, he personifies and describes Painting. At the beginning of the life of this

Slighted Beauty", we are informed "she is not yet quite dead, and therefore may be recovered and restored to her friends." The fictitious narrator says, "I have therefore related her case in the manner of a narrative, from the time of her birth, to the moment I was sitting by her bed-side, where she was confined by a sad cold, caught, I believe, hy wearing wet shoes The narrative is divided into a sort of chapters, or para-~ graphs, headed as follows:

The next work that we shall notice, is "An Historical Survey of the Ecclesiastical Antiquities of France, with a View to illustrate the Rise and Progress of the Gothic Architecture of Europe." By the late Rev. G. D. WHITTINGTON, of St. John's College, Cambridge.

The premature death of the very young author of this work (before he had completed his 26th year) is one of those affecting circumstances, that happen occasionally in the circle of almost every one's acquaintance; and is feelingly lamented by his noble editor (the Earl of Aberdeen), in a well-written preface. From this it appears, that the Gothic edifices of France had been his peculiar study, in the course of an extensive journey in that empire, made in the years 1802 and 1803, with his noble friend; during which he examined with minute attention the chief remains of early Christian buildings in those countries. He appears to have cultivated a knowledge of this style of architecture, previous to his leaving England, and to have taken much pains in the arrangement and digestion of his materials. His first project for this work was to have been divided into three parts, of which he lived to finish but two, which form the bulk of the present volume. He combats the peculiarities of Walpole's opinion of the origin of Gothic architecture with much success; and differs so completely in his opinions, of the original country of this species of architecture, with that able antiquary, Britton, in his nomenclature of English architecture, and so pointedly alludes to what he conceives to be his errors therein, that we shall extract the passage, hoping that it may attract the attention of some able judges to ascertain the facts, and settle the point now at issue between Messrs. Britton and MONTILLY MAG, No, 187,

Whittington. He says, after describing the cathedral at Amiens, the magnificent windows of which were projected and begun 1220," I think we must be brought to this inevitable conclusion, that the French had advanced from the origi nal simplicity of this Gothic style to the succeeding richness, at a time when the former alone was known in this country.

"I have been induced to enter more largely into this subject, as I perceive a disposition among antiquaries to consider the question, concerning the origin of the Gothic style, as already nearly settled, which I am fully convinced is by no means the case."

The work certainly opens a new field of observation to the admirers of Gothic architecture; is written in an easy, unaffected style; is full of able research; and exhibits marks of profound thinking, however it may militate against received opinions of English antiquaries. The frontispiece (the cathedral of Rheims) is elegantly engraved by Le Keux, in a correct, clear, and good style.