Royal Institution. In the beginning of his eighth lecture on dramatic poetry, Mr. Crowe gave some account of the alterations which were introduced into the English theatre, soon after the Restoration. The Court patronized the stage, and poets wrote to please the taste of the Court, This led to a nearer imitation of the French drama than had been usual. He stated the particulars in which this imitation appeared; and next hẹ animadverted on the indecency and immorality which disgraced our stage at that period. He also noted other faults in the tragedies of our chief authors in that age, Lee, Otway, and particularly the extravagancies of Dryden in his heroic plays. As a contrast to these, he quoted the Samson Agonistes of Milton, and observed that Johnson's criticism upon that drama was prejudiced and unjust. HIS ninth lecture commenced with E noticing the effect which was produced by J. Collier's book, intitled, 'A short View of the Stage:' not long after which the Tatler and Spectator contributed to improve the taste of the age. He observed that from this time our tragic authors wrote with more caution, and paid a stricter attention to the rules of criticism. He shewed in what respects they did this; viz. in the choice of their subjects, and in the subordinate parts of the drama; and he referred to the tragedy of Cato as an instance. He then characterized the tragedies of Rowe, Young, A. Hill, Thomson, and others, particularly Lillo, and his play, intitled, Fatal Curiosity. In the conclusion he spoke of the style of modern tragedy, which he censured as departing too far from the language of real life, and as not being sufficiently appropriated to the respective characters to whom it is assigned. In Mr. Wood's eighth lecture on perspective, the doctrine of inclined planes was repeated as introductory to that of shadows. The projection of shadows by a torch or candle and by the sun, was exemplified, and shadows were proved to be subject to the same rules of perspective as all other objects: and the lecture concluded with reflection in water, in which it was proved, that the reflection will always be equal to the apparent magnitude of the original object. 21 Mr. DAVY's tenth lecture on the chemical phenomena of nature related to the atmosphere. Its composition was pointed out; its constituent parts exhibited; water, carbonic acid, oxygene, and nitrogene. Mr. Davy stated the proportion of carbonic acid at about, the oxygene as , and the nitrogene as; these quantities he considered as the same in all parts of the air exposed to the influence of winds in cities, in towns, in mountains, and in valleys, on great continents, and upon the ocean. He attributed the superior salubrity of the air in the country as compared with that of 1009 towns, to its being free from noxious effluvia. British Gallery. No. 100. The foot-path bridge. R. Westall. THIS is a delightful little bit of rural scenery, and executed in a very natural style. The old woman seated at the foot of the bridge, conversing with a young female peasant, adds an interest to the composition. The scene exhibits one of those deep, sequestered, solitary spots, alike fitted for the musing of the poet, and the haunt of the fairy. Purchased by the Earl of Carlisle. No. 106. Cupid. J. Pocock. ALTHOUGH this picture has not yet found a purchaser, it has great claims to original merit. Cupid is represented as a very beautiful boy, of about 12 years of age, sporting with a snake, which, by his presence, seems disarmed of its terrors. A brilliant butterfly is perched upon his bow; and the arch little god is amusing himself with the animals before him. The expression is excellent; but the colouring, in the naked parts of the boy, is perhaps rather too raw. No. 115. Cottage child. J. Pocock. ▲ PLEASING natural composition, and executed with great neatness and delicacy of colouring. The child is sitting down very contentedly to the enjoyment of some milk, which it drinks out of a pan. The legs and feet are well conceived and executed. Purchased by Lord Boringdon. MINIATURES. No. 133. Saint and angel, (enamel, from Carravagio.) H. Bone. It seems impossible for the art of enamel painting to go beyond the force and richness of colouring displayed in this picture: and yet there is an hardness |