very skilful, but the back-grounds are occasionally opaque, and overcharged with the pigment. We must not forget to express our admiration of the bas relievos which form the basis of the different pieces. They are poetically conceived, and are executed with so much dexterity as to be absolutely deceptive.

The copy in enamel by M. Geor get of Gerard Dow's celebrated La Femme Hydropique, was one of the productions which attracted most notice in the last exhibition in Paris of works contributed by the various royal manufactories of France. It was painted at the Porcelain manufactory of Sevres, and occupied above two years in the execution. The original composition is well known. It consists of a group of four figures. The dropsical mother, leaning back in her chair, her eyes turned upwards with an expresssion of resignation to her approaching fate; her young daughter kneeling at her feet, bathing her hand in tears; an attendant, about to admi'nister to her some refreshment; and a doctor, earnestly employed in ascertaining the progress and state of her disease, by a mode of investigation which is almost discarded from modern medical practice. M. Georget has performed his arduous

and anxious task with great ability and success. Both the general effect and the particular details are admirable. When it is considered that in enamel painting the colours upon being laid on are, generally speaking, of a hue totally different from that which they become after vitrification, the difficulty of producing harmony may be easily conjectured. That difficulty, however, M. Georget has completely surmounted. The character of every countenance, especially that of the physician, and the wonderfully high finishing, not only of the figures but of all the accessaries by which Gerard Dow was distinguished, are very happily preserved; but in some parts there is perhaps a slight approximation to woolliness in the execution.

Since writing the above, we regret to find by the French journals, that M. Georget died at Paris the latter end of March, the victim of a disorder, rendered fatal by the intense and long-continued application which this his beautiful copy of La Femme Hydropique required. So sudden and melancholy a termination of the artist's career must greatly enhance the interest and value of this fine and imperishable specimen of his skill.

At Rome, on the 2nd February the Academy of St. Luke, by a grand funeral ceremony, did honor to the memory of Canova, the only artist who for a number of years had acquired the glorious title of Perpetual Prince of that Academy. The pomp and 'magnificence of these funeral honors can be compared only to those which are usuallypaid toSovereigns. For several months preceding, the church of the Holy Apostles had been preparing for the occasion with unusual taste and profusion. They had conceived the ingenious idea of decorating the interior of the "basilique," with castes from the principal monuments of this great sculp-tor. His best works were ranged round the cenotaph, surmounted by

his colossal statue of Religion. This statue had originally been intended for St. Peter's. at Rome, but, owing to some impediments which Canova received from the Pontifical Government, he subsequently destined it for the church he had built at Possagno, his native town. This church has the façade of the Parthenon at Athens, and was of the dimensions of the Pantheon at Rome. The whole sacred college were present at the ceremony, in a partícular gallery. The Senator of Rome, Prince Alfieri, and the principal authorities were there in the functions of their office. The Roman nobility, strangers of distinction, and every person of any celebrity at Rome, joined in this

celebration. The foreign ministers occupied a distinct gallery; the members of the Universities, and the members of the French Academy were also present. The funeral oration was pronounced by the Abbé Misserini, the secretary of Canova, who eulogized the deceased both as an Artist and as a Christian. The Abbé was particularly deli cate in his allusions to the relations which had existed between Canova and Napoleon. This grand cere mony is the most magnificent homage that has been paid to the arts since the days of Raphael.

The Orientalist, Hallenburgh, has published in 2 vols. 8vo. a descrip. tion of the coins preserved in the Museum of Sweden. At the end of the work the author describes twelve zodiacal coins in the same museum, and which had been brought from India by M. Thunberg. Count Healmar Miurner has transmitted to Sweden a fine work of engravings which he had executed at Rome, under the name of Il Carnovale di Roma.

After the example of M. Landon of Paris, the Baron Boye is publishing The Royal Museum of Sweden," consisting of etchings of the finest paintings and statues in the Museum of Stockholm. The 2nd number is nearly ready. The following is a list of the principal works of living Painters and Sculptors, which were exhibited at Florence in Oct. 1822.

Ugolino in Prison, his son offering him his arm. By Benvenuti, Director of the Academy at Florence. Hercules trampling upon Vice, and conducted by Virtue to the Temple of Glory. By Alberi, President of the Academy of Fine Arts at Bologna.

The Virgin, with two angels sup porting her mantle. By Gius Bezzuoli.

Michael Angelo presenting to Lorenzo de Medici a Head of a Satyr, his first effort in sculpture. By Thomas Sebastiani, of Rome.

The Roman Poor House, By Ant. Gualdi.:

The Virgin borne in Procession by Children. By Nicolas Cianfanelli.

A copy of the Sybil of Dominica no, a miniature. By Madame Lo queyssies of Dresden.

"

Sculpture. Psyche touching the Point of an Arrow. By Emilio Santerelli.

Moses receiving the Tables of the Law on Mount Sinai, a bas-relief. By Ferd. Pettrik.

Pyrrhus assassinating Polytes in the presence of Priam. A bas-relief in plaster. By Salv: Bongiovanni.

A marble bust of Pius Fantoni. By Ollav. Giovanozzi.

A Colossal. statue of Ferdinand III. By Stephen Ricci. Annual exhibition of the productions of the Royal Manufactories of -France.

These manufactories, five in number, are not simply designed to furnish the palaces, but are intended to serve as models or examples to other analogous branches of industry. Presents of their best productions are made to foreign courts, with a view of creating a high degree of admiration of the skill and ingenuity of French artists.

The Manufactory at Sevres.-The productions of this manufactory have lately done great honour to those who have the direction of it. Cups, dinner and breakfast services, and vases of every form and size, are of the most pure and beautiful forms, and of the most magnificent embellishments. The French deem themselves to have greatly excelled the German manufacturers, particularly in their painting upon porcelain. Their finest specimens of this nature are, a copy of the chefd'oeuvre of Gerard Dow, the Dropsical woman, of the same dimensions as the orignal. Mons. Georget devoted many years to this copy, and which has excited the greatest admiration. His other principal works consist of the portraits of celebrated musicians, designed to ornament a breakfast service. Mons. Constantin, who travels in Italy on account of this manufactory, has just transmitted to Paris a copy of Raphael's portrait of his beloved mistress, La

Fornazina; but doubts exist amongst the artists whether the copy be accurate and faithful. A beautiful painting of flowers by Van Os was deservedly admired. Madame Jaquotot had nothing in this exhibition. M. Beranger's vases

were

finely conceived as to their dimensions, their forms, and ornaments; and, as a proof of the return to good taste, we may instance those on which Mons. Leguay had painted figures, without frame work or outer lines, which are so anomalous to the form of the vase.

Among the specimens of the Gobelin manufacture, the most remarkable pieces were two of moderate size executed for the Viceroy of Egypt, after designs which his envoy had produced at Paris. There were also a copy of Mad. Le Brun's picture of Marie Antoinette, surrounded by her children.

The royal manufactory of Mosaic, from the want of funds and other causes, has not been able to produce any very valuable specimens.

Sculpture.-M. Dupaty, Member of the Institute, exhibited in 1817 a model of a Venus unrobing herself before Paris. The sculpture of it in marble is now in the gallery of the Luxemburgh. M. Ďupaty has chosen the moment when the goddess shews herself in all the brilliancy of her beauty to the happy shepherd, and which has afforded the artist every facility for shewing the beauties of his art. The undulating lines and beautiful form of the goddess make the spectator assent to Paris's awarding her the prize of beauty, whilst the expression of the head indicates that the goddess is confident of the prize.

Engraving. Many connoisseurs consider the St. Michael of Raphael as one of his best works; and it is certain that none of his pieces exhibit a grander specimen of drawing. The manner in which he has expressed the difference in the nature of the two beings whom he has represented, the Arch-angel St. Michael, and the Prince of Darkness, proves the justness of his conceptions. Very few engravings have been made of this painting, and those give but an imperfect idea of the original. Mons. Chatillon, a pupil of M. Girodet, has just made an engraving of this picture, and

which may be classed amongst the very few which have at all faithfully represented the originals of Raphael. The anxiety to purchase this engraving, and the high commendations bestowed on it by connoisseurs, are but a just reward to the merits of Mons. Chatillon.

Lithography.-Mons. Aubrey Le Comte has just published two new compositions of his master, Mons. Girodet. Both of them represent female figures entirely naked. The one represents Erigone overcome by sleep produced by Bacchus; the disorder of her position, and of every thing surrounding her, sufficiently testify the designs of the god. The other piece represents Ariadne abandoned by Theseus; the two compositions are distinguished by delicacy of taste and by that beauty of form which distinguish all M. Girodet's works. The lithographic engravings have been executed under M. Girodet's inspection by M. Aubrey Le Comte, whose reputation as a lithographic engraver is too well established to need our commendations.

The skilful Russian sculptor, M. Launitz, recently arrived from Rome, has been directed by the Emperor to execute two bronze pedestrian statues of Generals Koutousof and Barclay de Tolly.

Stockholm-It is understood that the King of Sweden intends to purchase the fine group in bronze of Psyche carried away by the Zephyrs. This group is esteemed a chef d'œuvre of the Florentine School, and now composes part of the collection of M. C. Wahrendorf, proprietor of the mines of Sturhof. The group was purchased by the Emperor Rodolph II. to adorn his castle at Prague, but in 1648 it became, by the fortune of war, the property of Count Charles Gustavus of Wrangel, who transported it to Sweden. The Marshal of the Court, Baron Klingsporr and professor Forsell are appointed to examine and report upon this celebrated object of art.

The Academy of Berlin has again gratified the public by exhibiting in the same month a collection of paintings of statuary, of curious works of music, and of musical in struments, as well as numerous other objects of the fine arts.

Brunswick.-The blocks of the

arm has the awkward effect of apparently detaching the fore part of the arm and the hand from the body. If, however, we reflect upon the difficulty of at once attaining beauty and novelty in a subject that has been so frequently handled, we must acknowledge that this monument, on the whole, is calculated to do honour to M. Pradier.

ENGLAND.

Associated Painters in Water Colours. This Society opened their Exhibition on Monday, April 21st, at their new and commodious Room, No. 6, Pall-mall, East. The numher of pictures is greater than usual; the arrangement very judicious and striking; the place of exhibition by far the best which the Society has had. Although in our next Number we shall enter into a more particular account of the merits of the works produced, than it is possible for us to do on the present occasion, we cannot refrain from inviting particular attention to the following pictures. Barret's great landscape, called Retirement; Evening, Solitude, Twilight, Puckester, and Shanklin, by the same artist; Robson's View in the interior range of the Grampians, Pass of Killicrankie, View of Canterbury and Stirling Castle; Varley's Grave of Thomson, from Collins's Elegy; Fielding's View of Windsor from the Forest, and several compositions; Cristall's Group of Peasant Girls at a Pump, Unloading of a Turf Boat; Prout's Market-piece at Malines, Hotel-deVille, Louvain, Receiving Ship at Portsmouth; D. Cox's Embarkation of his Majesty at Greenwich for Scotland; Richter's Picture of Youth; Wild's Interior of a Church at Antwerp; a large Flower Piece by Miss Byrne; Deer and Cattle by Mr. Hills; Two large Landscapes, Gloucester, and Newnham on the Severn, by Mr. W. Turner; Swiss Views, by Mr. Nessfield.

The lovers of the Fine Arts will be gratified to learn, that their progress has been recently much facilitated by the establishment of a school for the education of young artists, which has long been a desideration. Mr. Henry Sass, who has, we understand, devoted some years to its completion, has been so

successful in the advancement of his pupils, as to receive the general approbation of artists, the sanction of the Royal Academy, and the express thanks of the President and Council for the benefit his exertions have conferred on art. This Establishment, which is situated in Charlotte street, Bedford-square, is remarkable for the admirable arrangements made to inform the mind, improve the eyes and educate the hand of the pupil. The gallery which contains a splendid assemblage of antique statues, busts, &c. is illumined by an aperture in the roof, through which the light is introduced, on the plan of the Pantheon at Rome; a mode considered by all judges, admirably adapted to the display of the beau ties of sculpture. There is also a fine collection of prints from the most celebrated pictures of the old masters, as well as a library of the most distinguished works on art, anatomy, and perspective. Mr. Sass has conferred a still far ther benefit on art, by having been the means of settling a difference of opinion, which had long existed re specting the correctness of the an tique figures. Some anatomists and artists asserted, that they were not correct delineations of nature, as they exhibited markings not to be found in the dissected subject, and not seen on the living figures they had been accustomed to study, whilst others contended, that this was an erroneous opinion. In October last, a gentleman of literary eminence at Paris introduced Mr. Sass to M. Clias, a professor of gymnastics remarkable for his fine form and beautiful developement of muscle. Mr. S. immediately engaged him to go through a course of exhibitions to his pupils, and, with a view of promoting the arts more generally, invited the most eminent artists, and other men of science, to witness the exhibition. The impression, made on all was the same, that the most beautiful antique statues lost their interest when compared with this fine specimen of natural beauty. The markings on antique statues, which had hitherto been considered as purely imaginary, were seen on the form of M. Clias, and no doubt can be entertained, that they are the result of a well directed and scienti