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1823.J

Fine Arts.

The first number has appeared, and deserves much credit.

The Electress of Hesse still continues to devote herself with great

success to drawing. This princess
has just finished an oil painting of
St. Elizabeth, which has obtained
universal applause.

GREAT BRITAIN.

Mr. Gibson, a young sculptor of great promise and an Englishman, has been studying two years at Rome. His first essay was a Psyche borne by the Zephyrs, which is very fine: he has executed it in marble The for Sir George Beaumont. expression, the beauty of form, and the delicate contour of this statue unite to make it a chef d'œuvre. Upon the recommendation of Canova, who highly esteemed the talents of this young artist, the Duke of Devonshire commissioned him to execute Love disarming Mars. Mr. Gibson has just finished a model in plaster, of Paris presenting the Apple to Venus. He has also composed a model of a Nymph dressing herself, which he is executing in marble for Watson Taylor, esq.

Every lover of the Fine Arts will visit the Exhibition of Drawings in Soho-square with great pleasure; it comprises choice specimens of the works of many distinguished painters of the British School. In proof of departed excellence, there are the works of Wilson, Gainsborough, Barry, Cipriani, Sandby, Hamilton, Loutherbourgh, and Cosway, with some noble proofs of the pure style name that of Thomas Girtin; a must be for ever dear to the true lovers of English landscape. There are also some fine drawings of Sir Thomas Lawrence, Turner, Smirke, Stothard, Jackson, Ward, Landseer, Gandy, Samuel, Alexander, &c. For detailed remarks on this Exhibition, see page 55, of our present number.

The Irish artists have formed an ACADEMY OF PAINTING upon the model of the British Academy.— They have named a Council, composed of fourteen members; and ten painters will be elected Associates during the present year.

A very laudible Institution, called The Artists' Anatomical Society, has been lately instituted in London. Its sittings are held every Tuesday and Friday evening during the season, at No. 213, High Holborn.We are happy to find, that this

infant Society is honoured with the
patronage of the President and Coun-
cil of the Royal Academy.

A National Museum of Art.-Eng-
land is the only State in Europe which
does not possess a national Collection
of Pictures. The King, it is said, has
expressed a wish, that a National
Museum should be erected, to which
the public should have free access.
His Majesty has promised to contri-
bute the private Collection at Carl-
ton Palace, besides a selection from
the Palaces of Kensington, Hampton-
court, and Windsor, including the
matchless Cartoons by Raphael.-
The plan is to be carried into effect
under the direction of a Committee
of taste, and a power given by Par-
liament, with certain funds, in order
to make purchases either abroad or
at home. Chambers are to be erected
to contain the Elgin and Phygalian
Marbles, and all the rare Works of
Art now in the British Museum.

The following Engravings from the works of British Artists either are, or will shortly be ready for publication:

May Day in the Reign of Elizabeth, from a picture by C. R. Leslie, which our readers will recollect was exhibited at Somerset-House.

Lovers' Quarrels, from a very pleasing picture exhibited by G. S. Newton, in the British Gallery.The subject is from Le Dépit Amoureux of Moliere.

A View on the Thames near Battersea, with cattle and figures in the foreground, in the style of Cuyp and Paul Potter, from a painting by Deane.

The Murder of Archbishop Sharpe, from a picture by William Allan, Edinburgh, exhibited at SomersetHonse, and suggested by the striking description of this event in the Tales of My Landlord.

The Escape of the Mouse, painted and engraved by Burnet.-This work appears to us to rival some of Wilkie's small paintings.

The Letter of Introduction, from a picture by Wilkie.

An Author reading his Play in

persons present have done him the honour to sit, that he might be enabled to paint the portraits on his picture, instead of copying his own sketches, or the works of other Ma-artists, made at earlier periods than

the Green-Room of Covent Garden Theatre. This picture was exhibited at Somerset-House, and must be in the recollection of the public. It contains portraits of many of the best performers among his jesty's Theatrical Servants."

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The Three Marys, from the cele brated Picture by Annibal Caracci.

Mr. M. W. Sharpe, who had a Pic ture called "The Green-Room," containing portraits of several eminent living Actors and Actresses, at a late exhibition in Somerset-House, is now engaged on another work of a similar description, but of higher pretensions. It is called "Shakspeare's Jubilee," and, when finished, will consist of full-sized portraits of the principal performers at Covent-Garden and Drury-Lane Theatres, in the costume of such parts in Shakspeare's Plays, as, generally speaking, they are supposed to represent with most

success.

A most beautiful Medal, designed by the celebrated Flaxman, and exe cuted by Wyon, of the Royal Mint, has just been completed for the Royal Cambrian Institution.

We are informed, that the Basrelief of the Holy Family, by Michael Angelo, recently purchased at Florence by Sir George Beaumont, and now in England, will be added to the fine collection of Marbles in the British Museum..

Mr. GEORGE HAYTER, M. A. S. L. has nearly completed the large pic ture on which he has been employed for the last two years, for the Honourable George Agar Ellis, which will be exhibited in the Spring at Mr. Cauty's Great Room, No. 804, Pall Mall. The subject of the pic ture is the interior of the House of Lords, during the progress of the Bill of Pains and Penalties against the late Queen. The time selected, as most calculated to give general interest, is the 23d of August, 1820, the sixth day of the trial, when the Peers examined Majocchi, during the time her Majesty remained in the House. The spectator is supposed to be below the bar, looking towards the throne, with the galleries on either side. The picture contains upwards of three hundred figures; one hundred and seventyfour of which are portraits, and for which one hundred and sixty-five of the Peers and other distinguished

the epoch represented. The time chosen is mid-day, at that hour when the light descends equally from the windows on each side the House; which has enabled the artist to bestow equal labour on the portraits of the Peers on either side. This young artist commenced his professional career as a painter of miniatures, some of which will ever be remembered, as having formed the centre of attraction in the exhibition room appropriated to that branch of art in Somerset House. He has been on the Continent a great proportion of the last seven years, studying the celebrated works of the best Italian, Flemish, and French masters in oils; and is therefore, perhaps, particularly well adapted, by his course of study, to the performance of the arduous task on which he is now labouring, which differs from almost every other picture known, by the diffi culties proposed from the light com ing in at six opposing windows on the countenances of so many persons, demanding by their high rank, taste, and talents the utmost exertion of his abilities. The scale of the picture is four inches to a foot, which makes the fore-ground figures one-third of the height of nature. The picture is twelve feet long by eight feet high,

Mr. J. H. ROBINSON has just completed a beautiful line engraving from a portrait of his Grace the Duke of Wellington, by Mr. G. Hayter; which, together with his fine engraving of her Grace the Duchess of Bedford, are private plates.

View of London. Mr. HORNOR, of the Adelphi, has just published a prospectus of Views of London and the surrounding Country, taken from an observatory purposely erected over the Cross of St. Paul's Cathedral, during the late repairs of that building. The work will consist of four engravings; those of the East and West views to be forty inches by twenty-five, and those of the North and South views thirty inches by twenty-five each.

MEMOIRS OF DISTINGUISHED FOREIGNERS.

CARLO GOLDONI.

CARLO GOLDONI, the dramatist, was born at Venice in the year 1707. The appellation of Moliere of Italy was given to him in his life-time, and has been continued since his death. He took Moliere for his guide and, like him, in the creation of the theatre of his country was obliged to overcome the prevailing bad taste, which continually impeded his progress.

His youth was spent in prosperity and pleasure. His grandfather, descended from a noble family, was passionately fond of the stage, and had a theatre in his country-house, six leagues from Venice; in which he used to assemble the amateurs who came thither in crowds from The every part of the country. father of Goldoni liked this very well; and, as he wished to perpetuate in his family a taste for the same pleasures, he constructed in his own house a stage for puppets, and managed them himself, for the diversion of the youthful Carlo. At the death of the grandfather, all members of the family were thrown into very great embarrassments, caused by his prodigality; and they were all obliged to change their style of life. Goldoni's father, not being able to endure the lawsuits and contentions in which he was involved, left the charge of his affairs to his wife and went to Rome, where he took his degree in medicine and afterwards practised at Perugia. Carlo, his son, though now seriously occupied with his studies found leisure to read dramatic compositions: and at the early age of eight he tried to compose a comedy of the romantie kind, which Florentino Cicognini had made fashionable. This sketch, though very rude, drew the attention of his father, who gave a new direction to the studies of his son; and to render his holidays more agreeable erected in his house a theatre, on which Carlo and his young companions amused themselves with act ing comedies. As women are pro

hibited from appearing on the stage
in the dominions of the Pope, Carlo,
then thirteen years old, distinguished
himself very much in the character of
a woman in La Sorellina di don Pi-
lone, one of Gigli's comedies. Having
finished a course of study in huma
nity and philosophy at Rimini, and
excited by his strong inclination for
the stage, he ran away from school,
and joined a company of actors who
were going to Venice. The troop
arriving at Chiozza determined to
to stay there a few days, and Carlo,
who had learned that his mother was
in the town, made that circumstance
his pretext for undertaking the jour-
ney. He was believed by his mother;
but his father, who had immediately
pursued him, was not to be duped by
such a stratagem. However, Carlo
was reconciled to him on promising
to pursue the study of medicine; and
concord being restored both father
and son continued to frequent the
theatre. Through the interest of the
Marquis Goldoni, his relation, Carlo
was appointed to a lucrative situa-
tion in the college of the Pope at
Pavia, and consequently took upon
him the ecclesiastical habit, and un-
derwent the tonsure. This college
was almost entirely composed of dis-
sipated young men; and Carlo, fol-
lowing their example, instead of ap
plying himself to theology gave all
his attention to music, dancing, fene-
ing, drawing, and gaming. His va-
cations were spent amongst his fa-
mily, and entirely occupied with the
business of the stage. At his return
to college, he engaged in more se-
rious pursuits; and in the follow-
ing vacation he made, at his mo
ther's request, a sermon for a young
Abbé of her acquaintance, which
gained him great reputation. As
he was the acknowledged author of
it, he was received by the college,
at his return, in the most flattering
manner; from which a short time
after he was dismissed, and was
obliged to quit the city, on account
of a satyrical poem he had written
at the instigation of some persons

who were mean enough to betray the author. Ashamed to appear before his family, he thought of going to Rome, but was prevented by want of money. He was assisted, however, by a monk who after having exhorted him to repentance, and given him confession, took from him what money he had, for the purpose of charitable donations, and, with the true spirit of Christianity, reconciled him to his relations. Carlo now followed his father to Udina, where he studied law with great application, and through the interest of his father obtained a situation in the criminal court of Chiozza, and soon became titular coadjutor at Feltre, where he was remarkable for his attention to business. This regularity of conduct did not prevent him from enjoying the amusements of the stage. Some amateurs assembled and obtained permission to use the neglected theatre of the governor; and under the direction of young Goldoni they performed without music, the Dido and the Siroes of Metastasio; he also composed himself two pieces, The Good Father, and the Singer, which gained him equal reputation as an author and a comedian. His father having been appointed physician of the Embassy to Ravenna, Carlo accompanied him thither, and soon after having the misfortune to lose him returned to Padua, where he passed his examinations and received his licence: thence he went to Venice, where after some months attendance on the courts, in 1732, he entered upon the profession of the law, and whilst waiting for an opportunity of distinguishing himself at the bar, he composed an almanack in prose and verse, under the title of "Future Events predicted from past experience," which was very well received by the public: and he finished an opera called Amalsonta, but, disgusted with the disdainful airs and affectation of the comedians to whom he read it, though it was well adapted to the stage, he threw it into the fire. A suit in which he was successful against the first advocate in Venice spread his fame through that city but he was soon obliged to leave it, in consequence of an intrigue with a lady, whom the low

state of his fortune prevented him from marrying.

He went to Milan, where, in consequence of recommendations to the Venetian President, he was attached to the embassy, and found leisure to sketch out several works. The musical interlude of the Venetian Gondolier was the first he published. The campaign in 1733, at the conclusion of which Austria lost the possession of Italy, proved very disastrous to Goldoni, by interrupting his labours, and obliging him to quit successively, Milan, Crema, Pizzighitone, and Parma. During his travels he was robbed by some deserters of the whole of his property. At Verona he found means to repair his losses by joining the comedians of that city, and they represented at Venice, in 1734, his tragedy of Belisarius, which was received with universal applause. His Rosimonda did not obtain the least success. He then went to Padua, and supplied that theatre with his productions. He continued supporting himself in this manner till 1736, when he married the daughter of a notary at Genoa, and afterwards returned to Venice, where he continued writing for the stage. He had not yet obtained the eminence in comedy he was destined to arrive at, though he constantly kept in view the example of Moliere, and his adventurous career was far from being terminated.

The Genoese Consul at Venice dying in 1739, Goldoni succeeded him at the intercession of his wife's family. This situation being merely honorary, the state of his finances did not permit him to retain it after the year 1741. The campaign of this year throwing Italy into the same lamentable state, which it had suffered eight years before, prevented Goldoni from undertaking his intended journey to Genoa. He stayed some time at Modena, then at Rimini, living on the productions of his pen, which were as favourably received as ever: but he was again destined to experience a similar reverse of fortune to that of 1733: the ship which contained all his money and effects was taken by the Austrians off Pesaro. The Austrian quarter-master being at about ten miles from that town, Goldoni and his wife determined on paying him

a visit in order to recover their property if possible; when they had proceeded about half way, they alighted and went to a little distance from their carriage, and upon their return, they found the postillion had gone off with it: alone and without the least hope of being able to procure assistance, they notwithstanding took the resolution of continuing their route, in which Goldoni was obliged to carry his wife through two rivers. They arrived, however, at the quarter of the Austrian Commander, who generously restored his property, and advised him not to return to Pesaro. Prince Lobkowitz, General-in-Chief of the imperial army, had fixed his headquarters at Rimini, and there re signed himself to fêtes and diversions. Goldoni obtained the direction of the stage in that city, which employment was as advantageous to his talents as his fortune. He left Rimini as soon as the Austrians did, and went into Tuscany. There he resided in many towns, and became acquainted with a number of eminent men. At Pisa, overcome by the solicitations of his friends, he again followed the profession of the bar, in which he distinguished himself exceedingly; but a letter from the celebrated comedian, Sacchi, recalled him to his favourite occupations; however, he worked for the stage only in the night, and his wife was his only confidante. The piece required by Sacchi was soon executed, sent to Venice, and was acted with astonishing success. A second piece, "Harlequin's Child lost and found," though a mere sketch, received no less applause. This good fortune, aided by some affront he experienced at the Pisan bar, determined him to renounce the legal profession. He departed for Mantua in 1747, and three months after for Venice, where he found his family and his old friends. This city had three theatres; he attached himself to that of St. Angelo. At the conclusion of the theatrical season of 1748, Goldoni engaged to give sixteen new pieces in the following year. He performed this engagement, but fell ill through excessive fatigue, and his malady was heightened by the selfishness of the manager and the critiques and

He was

calumnies of his enemies: on his recovery he followed the company to Turin and Genoa; every where reaping the same success. constantly reproached by the envious as inferior to Moliere: this he was well aware of, and acknowledged without hesitation, and in order to put a stop to such reports, he composed a work of which Moliere was the subject, and which has been translated into French by Mercier. Goldoni now quitted the company of St. Angelo, and entered into a more profitable engagement with that of St. Luke.

In 1753 he published, by subscription, the first volume of his Theatre, which his merit and the admiration his plays had excited throughout Italy rendered a very profitable speculation. This occasion was seized by his enemies to load him with epigrams, satires, and the raillery of an entire academy composed of all the wits of Venice. Notwithstanding this and every other sort of annoyance and impediment, Goldoni pursued his plan and arrived at the summit of his wishes, in spite of prejudice and a crowd of admirers and partisans of the old Italian comedy. He succeeded in substituting the regular comedy in the place of extemporaneous pieces, and prevailed on the actors to abandon their masks. These reformations were not made without a struggle, which sometimes obliged the author to have respect to the old method:-" I allowed," said he, "masks in extemporaneous pieces, and employed interesting and comic characters in humourous pieces. Every one was pleased with his part: time and patience reconciled every thing, and I had the satisfaction to find myself allowed to follow my own taste, which became, in a few years, the standard of Italy."

The reputation of Goldoni extended through all Europe. The infant Don Philip invited him to Parma in 1756, and required him to write three comic operas, one of which The Good Daughter was set to music by Duni and Piccini. Don Philip, to show the esteem he had for his talents, gave him a pension, and styled him, by letters patent, the Poet of the Duke of Parma.

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