failings, and while he laboured to correct them with unremitting care, he could not but acknowledge, that there was more to admire and love in such a character, than in that of the most " faultless monster" the romance of a poet ever pictured.

"Often had the fancy of De Montford, lingered with delight o'er the fictitious numbers of the poet, embodied the airy form of description, and dwelt with inspired tenderness on the virtues it was supposed to enshrine. But how poor in comparison was what he then experienced, to the vivid feelings of admiration with which he viewed the young and lovely Constance de Balmont. Habited in the simple, though rather superior dress of the peasants of that country, it was evident that she, on whom no one could have gazed with indifference, owed nothing to the want of ornament. Her age was sixteen, and a profusion of dark chesnut hair, partly shaded and partly displayed a bosom of the most perfect symme try and dazzling whiteness. Her figure was exquisitely formed, and there was something in the whole contour of her person, which, while it looked an Hebe in bloom and loveliness, yet possessed an air of modest dignity that could not fail to inspire the beholder with a sense of worth and superiority."

THE ARTS.

pp.

The Cabinet of the Arts; being a New and Universal Drawing Book, forming a Complete System of Drawing, Painting in all its Branches, Etching, Engraving, Perspective, Projection, and Surveying, with all their various and appendant parts, containing the whole Theory and Practice of the Fine Arts in general, from the first Elements to the most finished Principles, displaying in the most familiar manner the whole Rudiments of Imitation, Design, Disposition, Invention and Deception. Illustrated with 67 elegant Engravings. To which is added an Appendix, containing several curious and useful Miscellaneous Articles. By T. Hodson, author of "the Accomplished Tutor," and J. Dougall. 376, 4to. £2 5s. plain, £3 10s. coloured. Cradock and Joy. THE endless multiplicity of drawing-books, makes us turn with contempt from every thing assuming that hackneyed title. There is not however we believe one of the numerous works on this subject, which can be considered as a complete treatise, teach ing the art of drawing, painting, etching, engraving, mezzotinto and aquatinta, preparation of colours, perspective, projection, sur veying by land of sea, mapping, varnishing, japanning, gilding and silvering, like this "Cabinet of the Arts" before us. The talents of Mr. Hodson are already well known by his "Accomplished Tutor," a very useful work; utility indeed appears to be the principal characteristic of his writings, and it is not less so in the present than in his former works. The authors appear to have very judiciously combined something of science with their profes

sional observations and instructions, in doing which they have produced a treatise which will be read with interest and advantage, not merely by artists and persons wishing to acquire some practical knowledge of painting, but all who desire to possess a general and and accurate knowledge of human nature. It has been often remarked that painters are good physiognomists, and their quickness of observation has excited both surprise and envy; now whoever wishes to possess these desirable acquirements without becoming a practical painter, should study attentively and profoundly the directions and observations given by our authors. The science of the painter is a proper and necessary knowledge for all classes of mankind; but dexterity in the art is necessary only to the artist. Those who affect to be amateurs and connoiseurs of the arts without having scientifically studied the general principles on which they are founded and directed, (and there is not a few of those who think intuitive knowledge sufficient) must frequently expose themselves not only to the ridicule of artists, but to the contempt of better informed persons, who pursue knowledge for its own sake in whatever shape it may appear, or by whatever means it may be acquired. To the latter description of inquirers this volume will be particularly acceptable, as it combines in a considerable degree the abstract and the practical principles of the art with the philosophy of painting. This is not confined to one branch, such as the anatomical description of the human body, which is rendered very familiar and very accurate; nor to the passions of the mind as expressed in the countenance, which is an other branch of knowledge equally attractive and important; but also to the manners and customs of nations, and the operations of of the passions in the human heart. The following remarks on expression will shew something of the authors' manner.

"Numerous and various have been the disputes concerning the seat of the soul: her operations and expressions are however more manifest. The eyes are her principal index: it is through these she speaks, and in these we discover her various cogitations. Next to these the mouth and eye-brows are her interpreters; and however they may be controuled by habit or affectation, they will not, upon all occasions, preserve perfect neutrality. In the most reServed countenance, and where the passion is artfully endeavoured to be concealed, the eye-brows, or the line just above them, will often betray the latent anger of the wind, when the person uses his utmost endeavours to conceal his emotion. This feature, by the different poets and delineators of the human passions, has been defined as the seat of almost every emotion of the soul. Homer makes the eye-brows the seat of majesty; Virgil, of dejection Horace, of modesty; and Juvenal of pride; this diversity of opinion arises from the active part this member takes in all the offices of expression. If it be enquired which of the passions tend to the increase or defect of beauty, it may, in general be answered, that all those of the tender and benevolent nature have the former effect; and those of the cruel and unnatural kind the latter; pre

mising at the same time, that the moderate kind of passions are bere understood; for the most extreme expressions are hurtful to the graces, and all excess is deformity; thus an excessive joy may be too boisterous to be pleasing. In some female faces a certain degree of grief gives an inexpressible languishing charm to the coustenance; but the most charming effect of the passions, that can possibly be conceived or expressed by the pencil, is that produced by a judicious mixture of modesty, sensibility, and sweetness; each of these passions, separately considered, has a pleasing effect on the countenance; but when united in such a manner, as either to enliven or correct each other, they give such a beautiful attraction to a pretty face, as is not to be expressed by any other of the passions, separately or jointly. Of these in a female face, (for in that sex expression has the greatest effect) modesty should in general be the most predominant."

Speaking of the various opinions and notions of beauty, the authors remark: "This diversity of sentiment is a wise dispensation of the Author of our nature: it renders the peevish animal, mán, discontented in every other respect, in general highly pleased with himself; and also prevents the devastation and universal destruction which would ensue from a perfect unanimity of opinion with regard to the objects of greater beauty. It creates a sort of universal beauty, greatly enlarges its objects, and offers to every one that which may best suit his taste." The observations are not less judicious and more animated on the frivolous changes of dress, and the empire of fashion, which however fugitive and ridiculous they may appear in the eye of the philosopher, never fail to furnish the painter with some excellent hints for the disposition of drapery, and for the display of that dress which in all ages and all times gives effect to the natural beauty of his subject. The article on Costume is one of the fullest and most rational which we have seen; it wisely aims at uniting both moral and physical excellence, without which there is indeed no beauty. After indicating numerous deviations from historical truth and fact by the first masters, the editors observe,

"There is still one other breach of costume, however common among painters, more offensive and inexcusable than any thing hitherto noticed; that is, the perpetual and unnecessary display of the naked figure. This is not the place to inquire whether more skill is displayed in painting the human body clothed or unclothed: but if the persons introduced in any picture are exhibited more naked than can be justified by the probability of the times, persons, places, or other circumstances, this manner of treating the subject is a breach of the costume proportional to the deviation. This fault, however, is so common, and authorized by the example of many of the most eminent artists, that it is hardly noticed, when compared with the more violent offences against science itself, as well as against morality, which have been the opprobrium of the art of painting in every stage of its progress."

We might extract many more remarks which evince the good sense, moral principles and good taste of the writers, but what we have already noticed fully justifies us in recommending it to the attention of parents and youth, who are in no danger of imbibing any corrupting ideas from this work; a recommendation much more rare and more important than is generally supposed. It would indeed be unjust to censure indiscriminately the moral principles of painters, yet it must be confessed that their irregularities are more numerous than those of any other class, and that many of them must be ascribed either to the disgraceful practice of their art above alluded to, or to the licentious principles imbibed with their studies. This is perhaps the reason why so many artists are wholly incapable of painting the portrait of a modest woman; and so intimately is good taste and moral purity allied, that nothing is more common than to see portraits of virtuous females exhibiting meritricious blandishments, which the artist confounded with the gracefulness of conscious virtue. Some professors paint to our passions, others to our reason; the former are mechanics, the latter are artists. Upon the whole Messrs. Hodson and Dougall's "Cabinet of the Arts" is unquestionably the most complete and most rational treatise on drawing, painting, engraving, and the arts of design, that has hitherto appeared. The plates are very numerous and well executed, and represent the various species of etching, mezzotinto, aquatinto, and high finished engravings. The designs of human figures, animals, vegetables, landscapes, architecture, and anatomy, are from the best masters, both ancient and modern; and the whole work contains a vast variety of curious and interesting information.

Antiquarian and Topographical Cabinet, containing a Series of elegant Views of the most interesting Objects of Curiosity in Great Britain; accompanied with Letter-prefs Deferiptions. Vol. III. Small Svo. 50 plates 15s. Clarke, 1808.

WE have already noticed the first and second volume of this pleasing and curious little work, and we are gratified to find that the authors, Messrs. Storer and Greig, evince a laudable spirit in return for the very general approbation which their work has received. The same taste is displayed in the choice of interesting subjects which either amuse or interest the feelings; but what is more creditable to the publishers, is that we perceive their engravings are generally executed with greater care, and many of those in this third volume discover higher finishing and more delicacy than in some of the preceding ones. The following account of the poet Scott's Grotto, Amwell, Herts, is novel.

"This Grotto, which is esteemed one of the greatest curiosities in the county, was designed and constructed about the year 1766, by the late John Scott, a poet of considerable éminence. Much of the manual labour in this operation, he observes in a letter to a friend, fell to his own share; for he was under the necessity of

encouraging his rustic assistants by marching before them with a pick-axe, like a pioneer, to dig the excavation which was made under the side of a hill in his garden. The grotto consists of several apartments, and is composed of many rare and valuable fhells, fossils, spars, &c. When illuminated, as it may be at a few minutes notice, by means of a chandelier, it presents a scene of inconceivable beauty. Dr. Johnson, on being led to it by his friend Scott, was so struck with its appearance, that he pronounced it Fairy-Hall, and said, alluding to the grounds through which he had passed, that " none but a poet could have made such a garden." The grotto is well described by Scott, in an epistle called "The Garden," published with his other poems: Where 'midst thick oaks, the subterraneous way

To the arch'd grot admits a feeble ray;

Where glassy pebbles pave the varied floors,

And rough flint walls are deck'd with shells and ores.' "A book was formerly kept here for the signatures of visitors; this is now in the possession of the proprietor of the estate, John Hooper, Esq. who married the poet's only daughter. Among the names are those of many noble personages, foreigners as well as natives; this book contains, besides the signatures, many couplets and verses extempore. Some lines by Mr. Park, an intimate friend of Scott's are particularly worthy of notice. Grotto is still kept in excellent order by Mr. Hooper; and though it does not accord with his system of retirement to admit of too frequent visits, yet he is not averse to gratifying occasionally the curiosity of persons of taste and discernment."

The

Among the curiosities in this elegant little volume must be ranked the "Druidical Stones, Stenhouse," in the Orkneys, which are supposed to have represented equatorial circles for astronomical observations.

Catalogue Raisone of the Pictures belonging to the Most Hon. [Noble] the Marquis of Stafford, in the Gallery of Cleveland House, comprising a List of the Pictures, with illustrative Anecdotes, and descriptive Accounts of the Execution, Composition, and characteristic Merits of the principal Paintings. By John Britton, F. S. A. pp. 164, 8vo. 7s. Longman and Co. 1808.

Mr. BRITTON urges the plea of " a long series of illness," as an apology for any defects which may appear in this, volume, and however unsatisfactory it may be considered as a reason we believe few will doubt its efficiency as a cause; but as we would be considered in the strictest sense of the word, "liberal critics," we shall" judge the present production more by the dictates of mercy, than the laws of justice," as we know the author is not destitute of talents. In his preface he slightly hints at reasons for not exposing picture galleries to the observation of the public: we sball extract his words.