Rhodes to attack Napoleon in Egypt. He learned that the whole Delta had risen in arms against him; the English assailed him on the coast, and Mourad Bey disputed every inch of ground with General Desaix. In this desperate state of his affairs it was absolutely necessary to capture Acre, but the works were incredibly massive, and the frigates with the battering train had not arrived. The beseiged had repulsed two assaults, but in a grand sortie were driven back with great slaughter. Napoleon was obliged to march part of the beseiging army to Mount Thabor to relieve Kleber, who, entrenched in the ruins with 4,000 men, had been resisting the furious attacks of 20,000 Turks.

Napoleon's fine genius won the famous battle of Mount Thabor. With the cavalry of Murat he scoured the banks of the Jordan. Generals Vial and Rampon established themselves at Naplouz, and Napoleon threw himself between the great Turkish army of the Pacha Damas and their magazines. Damas thus attacked in every direction lost 5000 men, and all his tents, camels, and provisions.

In the mean time the French Admira! Perré had landed nine large guns at Jaffa, and Napoleon was resolved to capture Acre. In two desperate assaults the French were repulsed, and in one of them Caffarelli-Dufalga lost his life. At length a Turkish fleet appeared in the offing, and Acre would be invulnerable after these succours should be poured into it. Napoleon ordered a general attack, it was the fifth assault; the French were wrought to the most desperate pitch of valour. The ramparts were carried, and the Turks driven into the city, but Sir Sidney Smith, with the men of his fleet, inspired the inhabitants with courage to defend their streets and houses; three successive and brave assaults proved ineffectual; the carnage of the French was terrific, and Napoleon was obliged to raise the seige."Soldiers!" said Napoleon, "after having, with a handful of men sustained a war for three months in the heart of Syria! After having captured 40 pieces of canon, 50 stands of colours and 10,000 prisoners! After having destroyed the

works of Gaza, Jaffa, Kaiffa and Acre, we will now return to Egypt." We must notice that the defender of Acre, besides Sir Sidney Smith, was the celebrated Phelipeaux, who had been Napoleon's companion at the Military Academy, and who had escaped from the prison of the Temple at Paris.

Napoleon, in this retreat, by dint of his own personal efforts, succeeded in carrying away his sick, except about 60 left at Jaffa, and the fate of whom has been the subject of so much controversy.

Napoleon fortified El-Arish and Tuich, and left a corps of troops at Cattich, making a line of defence for the frontier of Egypt. After this memorable campaign of four months in Syria he arrived at Cairo, having lost 600 men by the plague, 1200 in battle, and bringing back 1800 wounded.

Arrived at Cairo, Napoleon learned that Mourad Bey had baffled the pursuit of Desaix, and had descended from Upper Egypt at the head of a large force; and at the same time he received intelligence that a large Turkish fleet had arrived at Abouker, with a military force destined to attack Alexandria, and commanded by Seidman Mustapha, Pacha of Romelia, who was in communication with the two Beys, Mourad and Ibrahim. Napoleon marched at the head of 18,000 men, and found Mustapha entrenched at Abouker, and defended by a numerous artillery. He defeated the enemy, 10,000 of them were drowned in the sea, and Mustapha, his son, and all the chief officers who had escaped the fight, were afterwards taken by Murat, who greatly distinguished himself in this memorable battle.

This great battle completed the conquest of Egypt, and left Napoleon solely the duty of keeping possession of the country, and of tranquillising it. His active mind, therefore, turned to the great events which were then agitating France. He learned by the papers that the military glory of his country had been tarnished since he had left Europe; that his own name was the object of hope and admiration with the French, and that his countrymen were oppressed by an imbecile

IN fulfilment of the intention announced in our last number, we proceed to make some observations on a few, and only on a few of those pictures now exhibiting at the Gallery of the British Institution, which appear to us to be most entitled to our regard. In these, as well as in all other remarks which we may from time to time offer on the various productions of the Fine Arts, we trust that we shall never shew ourselves influenced, either on the one hand by that silly, ineffective, and indeed injurious good-nature which praises equally imbecility and excellence; or, on the other hand, by that fastidious, and in some instances we fear, malignant feeling, which passes hastily and slightingly over merits, and dwells with complacency, if not with bitterness and exultation, on defects.

9. A Banditti Chief asleep, watched by a woman. 36. A Banditti Chief looking over a rock, a woman pulling him back. 43. A woman throwing herself between the fire of soldiery and a wounded Chief of Banditti. All painted at Rome.-C. Eastlake.

We congratulate Mr. Eastlake on his great and rapid advance in the art, and we look forward with confidence to his becoming a distinguished ornament of the English school. These are three highly interesting performances, embodying in some of the numerous and delightful shapes in which they indicate themselves the tender, and at the same time the heroic, affection and self-devotion, of which woman has so often shewn herself capable. The compositions are simple; the drawing is generally correct; the expression, though energetic and unequivocal, is perfectly unforced; and the colouring is rich and warm, but sometimes degenerates into foxiness. The execution is singular. We confess that we are not displeased with its breadth and solidity;

but we have heard good judges of art speak of it as not sufficiently finished.

278. A Maniac visited by his children. Painted at Rome.-J. P. Davis.

This mournful composition consists of five figures, rather larger than life. The scene is a dungeon. In the fore-ground is the maniac, in a crouching position, unconscious of what passes, his eyes fixed and glaring, with the character of incurable insanity. His head and shoulders are in a very grand style of art; although less of muscular power and marking would perhaps have been advantageous. Beside him kneels his daughter in intense affliction. Her countenance possesses considerable delicacy and sweetness; but parts of her figure, and especially her arms, are very deficient in drawing. Close to her is a youth, who participates in her grief; and clinging to him is a child, in whom terror has o'er-mastered filial love, and who thus introduces a valuable variety of expression. The keeper, in the back-ground, contemplating the sad groupe with a compassion which even the habits of his life cannot wholly repress, reminds us strongly of the firm and vigorous pencil of Opie. The Caravaggio effect of the picture is very suitable to the subject. The deepest shadows, however, are much too sooty. Most of our English artists would do well to attend to the fact, that as the tones of the great colourists become dark, they become warm.

128. Adam and Eve entertaining the Angel Raphael.-J. Martin.

There is no living artist who can more successfully convey the idea of almost unbounded space in his pictures than Mr. Martin. In the present fine and varied composition, the eye is lost in endeavouring to trace the infinite undulations and intricacies of the beautiful and out-stretched landscape. Every object glitters with the gay and sunny hue, which there can be no doubt was prevalent in Paradise. Some of the positive

colours however will, in our opinion, be benefitted by the mellowing hand of time.

66. Death of the Woodcock. 147. Greyhounds resting.-Edwin Land

seer.

We almost envy the animal and feathered creation the devotion of such talents as those which Mr. Landseer manifests. And yet it is gratifying to see the interest which genius can communicate to forms and circumstances, not of the most promising nature. For instance, it is difficult to conceive a more pathetic little picture than "The death of the Woodcock." In fact, it is rather too much so. The writhing body, the closing eye, the gasping bill, stained with "gouts of blood," the dragged and helpless leg, the floating feathers which the struggles of escaping life have disengaged, all indicate a degree of agony that it is painful to contemplate, even in a bird. We are not sportsmen, it is evident; but if we had any disposition that way, this admirably executed picture would effectually damp it. The "Greyhounds resting" is of another and a more cheerful quality. The dogs in repose are beautifully painted; and nothing can exceed the fire and animation of the fine creature, who seems to have been suddenly roused by the perception of some distant object, and to be ready instantly to start off on a fresh pursuit.

It surprises us that, in this age of literary adventure, no enterprising publisher has devised the plan of a magnificent edition of Esop; illustrated by the pencil of Landseer and the graver of Scott. It would be a most amusing, and we are persuaded a most profitable undertaking.

42. Royal Banquet, at the Coronation of His Most Excellent Majesty George the Fourth.-G. Jones, A.R.A.

When we state that the size of this picture is only five feet by four and a half, our readers must be aware that it can give but a general notion of the gorgeous and august spectacle which it has been painted to commemorate. In that respect we think it eminently successful. No man knows better how to treat such subjects, where individuality is not required, than Mr. Jones. It is in them that

his pencil luxuriates, and that he is enabled to develope that masterly management of tone and effect, which appears like the result of magic to the uninitiated.

49. Morning after a Storm; a scene near Linton, on the North Devon coast.-W. Linton.

Mr. Linton is a very improving artist. He is evidently one of those.. who make nature their principal model; and who look at art chiefly for the purpose of enabling them-. selves to detect in nature that which might otherwise have eluded their observation. There is much grandeur, and great truth in this difficult effort. The effect of the retiring mist, partially obscuring the lofty clifts of the middle distance, is extremely faithful; and the grey hues of that part of the picture are skilfully contrasted with the deep-toned fisher's huts of the nearer ground.

The same artist has two smaller

works in this Exhibition. They are views from Lord Northwick's villa at Harrow; and are very pleasing, but somewhat monotonous

201. A popular Actor, in the character of Henry IV.-J. Jackson, R. A.

A rich-toned picture. Mr. Jackson has represented with fidelity > the deep pathos with which Mr. Macready's powerful mind "informs" features, not the most favourable for refined expression.

222. Maria Grazie, the wife of a Brigand Chief.-W. Brockeden.

There is great energy in this lady. robber, and the tone of colour approaches very nearly to that of a fine old Venetian picture.

14. Cottage Children opening a Gate.-J. Burnett.

A charming little composition; warmly but harmoniously coloured. The uniform and converging direc tion of the eyes of the interesting little groupe towards some one, who has not yet approached near enough to step within the boundary of the picture, is a circumstance happily imagined.

64. Othello. Act III. Scene 3.H. P. Briggs.

Carefully, firmly, and chastely painted; but the subject, namely, the interview between Desdemona and Cassio, in which the former promises to exert all her influence.

with her husband in behalf of the latter, is not of sufficient interest for the canvas.

16. A Girl at her Devotions.-G. S. Newton.

The object of the young lady's adoration is the miniature of a military hero, on which she gazes with infinite tenderness. We would just hint to Mr. Newton, that pictorial puns of this description are rather dangerous. It is a pleasing and clever picture nevertheless, but not faultless in the drawing.

211. Head of a Polish Jew. Mrs. W. Carpenter.

Highly creditable to the talents of the fair, amiable, and accomplished artist.

153. Don't wake the Baby."— T. Stewardson.

A very touching exhibition of maternal vigilance. The child's head is sweetly painted.

141. Reading the News.-T. S. Good.

This little work is a companion to that extraordinary and celebrated picture (also in the present Exhibition) representing two old men, who fought at the battle of Minden; which, although oddly stuck in an angle of the great room at Somerset House last year, attracted more pub lic admiration than any of its neighbours of much haughtier pretensions. Mr. Good's new production is not equal to the one we have just mentioned, but it shews the same strict attention to truth, especially in the head of the old man who is reading,

which is a master-piece of natural expression. May we be allowed to suggest to Mr. Good, that a little more massing of his lights and shadows need not in the slightest degree diminish the minute fidelity of his pencil, while it would materially strengthen the general effect of his works,

257. View on the Burle, near Dulverton, Somersetshire.-G. Samuel, A pleasing landscape, thoroughly English in every respect. The interest of this and another production from the same pencil (116. Latimers, from Chenies, Buckinghamshire) is painfully increased by the sudden death of the artist, which has taken place since the opening of the Gallery. Mr. Samuel was a painter of considerable and improv ing talents, and was warmly and deservedly esteemed by an extensive circle of friends.

241. Master Simon, the Doctor, with Brumo, imposes upon the credulity of Calandrino; Boccacio, de Cameron.-J. M. Wright. Truly humorous.

235. Game.-B. Blake. Equal to Gerard Dow in point of high finishing.

But we must close our remarks; in doing which it is but justice to say, that we have been obliged to pass without notice many works highly deserving of praise. This has been compulsory on us. It has been a matter of choice that we have abstained from any observations op others of an opposite character.

deny. In fact, we doubt whether any genius, less vigorous and persevering than his, could have triumphed over the numerous impediments which have been thrown in his way by individuals, who, while they evidently meant well to him, had not sagacity enough to be aware, that to praise enthusiastically and indifferently beauties and defects, and continually, and ostentatiously, to proclaim their favourite the sun of British art, around whom, all his contemporaries must move in a kind of planetary subjection, was not

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