to a low country, who had never beheld a mountain district, except in representation, however great his powers of art, would imperfectly conceive, and still more imperfectly execute, an alpine scene. What applies to nature, will likewise apply to man, and with greater force; as it is more difficult to depict, without experience, action than stillness-living, than inanimate, forms. Our national subjects, undoubtedly, are grand and numerous. We have had Patriots, Orators, and Warriors, and scenes of triumph, at least as splendid as those detailed in the pages of antiquity. We have had, like Greece, a Demosthenes, and an Eschines; and men, who, like those of Sparta and of Thebes, have died for their country in the arms of victory. But to delineate such subjects would be in the highest degree difficult, even supposing the powers of the artist of the artist supreme. To paint in the truth and spirit of the historical style, would be to offend legitimate taste, by adopting a costume at once inelegant and incapable of expressing

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dignified action: and to borrow the dress and fashions of antient times*. would be at once unreasonable, and offensive, in the highest degree, to our patriotic and popular feelings.

*Whatever arguments may be advanced in favour of adopting the modern dress in painting, I conceive none can be successfully advanced in support of this dress, as it affects sculpture. The following is extracted from Sir Joshua Reynolds's tenth discourse.

The desire of transmitting to posterity the shape of modern dress must be acknowledged to be purchased at a prodigious price, even the price of every thing. that is valuable in art. Working in stone is a very serious business; and it seems to be scarce worth while to employ such durable materials in conveying to posterity a fashion, of which the longest existence scarce exceeds a year.

'However agreeable it may be to the antiquary's principles of equity and gratitude, that, as he has received great pleasure from the contemplation of the fashions of dress of former ages, he wishes to give the same satisfaction to future antiquaries; yet, methinks, pictures of an inferior style, or prints, may be considered as quite sufficient, without prostituting this great art to such mean purposes.

Sculpture is formal, regular and austere; disdains all familiar objects, as incompatible with its dignity: and is an enemy to every species of affectation, or appearance of academic art. Whatever partakes of

THE extraordinary wealth of many private individuals in this country, may, at first view, be supposed to be highly favourable to the patronage of the fine arts, and the encouragement of a pure taste; and this undoubtedly would be the case if all rich men were men of taste but a certain general demand for pictures and portraits, at what may be called a mercantile rate, rather promotes mediocrity than excellence; and where the majority of purchasers are not en

fancy or caprice, or goes under the name of picturesque (however to be admired in its proper place) is incompatible with that sobriety, and gravity which is peculiarly the characteristic of this art.

'There is no circumstance which more distinguishes a well regulated and sound taste, than a settled uniformity of design; where all the parts are compact, and fitted to each other, every thing being of a piece. This principle extends itself to all habits of life, as well as to all works of art. Upon this general ground, therefore, we may venture to pronounce, that the uniformity and simplicity of the materials on which the sculptor labours (which are only white marble) prescribes bounds to his art, and teaches him to confine himself to a proportionable simplicity of design.'

Editor.

dowed with the gift of discernment, the majority of artists will not be found to bestow on their works the maturest deliberations of judgment or industry, and the highest polish of labour.

THOUGH labouring under many disadvantages, this country, however, offers some peculiar traits, which may well afford high expectations and vivid hopes to the patrons of the British school of

art.

OUR natural scenes have characters of picturesque effect, of which no other country can boast; and this depart'ment of landscape is full of novelty, beauty and sublimity; and our eternal verdure, our pure streams, our wooded lakes, and mist-clad mountains, are equally fitted for the painter and the -poet.

THE exalted state of our physical science likewise, which, compared with that of all former times, is as the brightness of

noon-day to obscure twilight, offers untouched subjects in the calm and dignified departments of art. :

IN religion, if an enlightened system has limited the extent of the glory of the painter, it has not at all diminished his powers of execution. The objects of sacred design are still unexhausted. The first of poets of modern times has given to them the grandeur and effect of the noblest combinations of fancy: and the artist may find in Paradise Lost,' all the elements of the higher departments and sublimest functions of his art.

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THE talents of Reynolds, Wilson, Gainsborough and those of many able living artists, prove how much may be done,

THE exertions that are now making promise excellent fruits.

THE zeal displayed, by yourself and other ardent cultivators of all that tends