1815.]

safe custody, where their inestimable value is duly appreciated; but we very much fear whether either the family of Mr. Tweddell or the British nation will derive any real pleasure or benefit from that circumstance. It is possible that, in some form, and under some name or other, a part

or the whole of these precious relics may be communicated to the world; but in that case, they must inevitably be disguised, garbled, and mixed with inferior materials, which will of course be equally injurious to the originals and the public. The Letters of Mr. Tweddell here printed will be sufficient to rouse the general indignation against those mercenary or careless persons who have de prived the lovers of elegant and classical literature of the last productions of such a scholar. The appended correspondence exhibits so much curious matter, and affords room for so large a disquisi. tion, that we entreat the patience of our readers to grant us some indulgence till our next number, when we intend to give in the prominent part of our Magazine a full memoir on the subject.

The Rejected Pictures, &c. with Descriptive Sketches of the several Compositions by some ci-devant and other Cognoscenti (being a Supplement to the Royal Academy Catalogue of 1815). To which are added a few of the secret Reasons for their Rejection. By a distinguished Member of the Hanging Com

mittee. 8vo. 5s. 6d.

The ingenious author of this performance has found means, chiefly by apt quotations, to illus. trate many prominent characters in politics, literature, art, and science. Most of these articles are truly striking and piquant. We select one or two at random:~

18. Portrait of Sir J. M-r-y. Poet. "Arma virumque cano,"

S-r J. M. "I am no fighter."

VIRGIL.

SHAKSPEARE.

38. Portrait of Mr. Js, Editor of the F--h Review.

"To the gates of Tartar, thou most excellent devi! of wit."

"Let there be gall enough in thy ink though thou write with a goose-pen, no matter."

"I warrant there's vinegar and pepper in't."

SHAKSPEARE.

Kirby's Wonderful and Eccentric Museum, or Magazine of Remarkable Characters, including all the Curiosities of Nature and Art from the remotest Period to the present time; illustrated with 19 elegant engravings. Vol. V. 8vo. 12s.

To the lovers of light reading we can confidently recommend this volume; in truth, a more amusing one has seldom fallen under our inspection. The amateur of curiosities will here find a rich cabinet collected for his entertainment; and even the man of science and the philosophic observer will perceive that their interest has, by no means been forgotten. A progressive improve. ment both in the graphic embellishments and in the literary execution of this popular work, cannot fail to be properly appreciated by the public. Sir Wm. Russell's Advice to his Son, written in 1689, and now first published. Foolscap 8vo. 2s.

Essais sur la Litterature Francaise. Par M.

Craufurd. 3 vol. Svo 11. 4s.

An Account of the Names, Trades, and

545

8vo. 12s.

man.

We have taken the liberty of classing this book under the head of romance, though an attempt has been made on the part of the editor to pass it off as an authentic narrative; and what is still more extraordinary, the respectable president of the Royal Academy is brought in for the purpose of making the world believe that Llewellin Penrose was a real personage. But in fact, ingenious as the narrative undoubtedly is, the whole is a pure fiction, and a palpable imitation of two works in the English language, the well known Robinson Crusoe being the one, and the very scarce piece intituled "The Isle of Piues, or a late Discovery of a fourth Island in Terra Anstralis incognita," being the other. This last romance, which first appeared in a thin quarto in 1668, was the original in this line of invention, from whence the author of "The History of the Severambians," Daniel De Foe, and other writers, took the plan of their re. spective performances. The Journal of Penrose has a very close resemblance to the pretended na. rative of the discovery of the Isle of Pines: but

though we have been much amused in the perusal of it, we cannot help expressing our surprise that

the author should have been so inconsistent as to represent an illiterate sailor writing like a philosopher, and reasoning upon the perceptions and operations of the human mind with all the subtlety of a metaphysician of the modern school,

546

POETRY.

The White Doe of Rylstone, or the Fate of the Nortons. A Poem. By Win.Wordsworth. 4to.

In a note appended to this costly volume we read that "the poem of the White Doe of Ryl stone is founded on a local tradition, and on the ballad in Percy's Collection entituled, "The Rising of the North." The tradition is as follows."About this time," not long after the dissolution of the monasteries, " a white doe, say the aged people of the neighbourhood, long continued to make a weekly pilgrimage from Rylstone over the Falls of Bolton, and was constantly found in the Abbey church-yard during divine service, after the close of which, she returned home as regularly as the rest of the congregation."-Such is the foun dation of the present piece, upon which Mr. Wordsworth has framed a story drawn from the narrative of the Nortons, who were engaged in the northern insurrection that took place in the 12th year of Queen Elizabeth. Of the poem itself we shall give a short specimen, and if that does not satisfy the reader, he will do well to purchase the book, and judge for himself:

"Fast the church-yard fills:-anon
Look again and they all are gone;

The cluster round the porch, and the folk Who sate in the shade of the Prior's oak." Armageddon. A Poem; in Twelve Books. By the Rev. Geo. Townsend, B. A. of Trinity College, Cambridge. 4to. 11. 11s. 6d.

This is only a portion of an intended poem in blank verse on the Theory of the Universe, being an attempt to mix fable with truth, by creating a number of ideal beings and circumstances, and blending them with the history of man's origin, fall, and recovery, as given in the sacred volume. The design is bold, and there is much skill in the management of the materials; but, as sincere be lievers in revelation, and venerating as we do the oracles of our religion, we cannot approve of the plan of grafting upon the tree of life the fictions of the human imagination. Armageddon exhibits abundant proofs of learning, ingenuity, and piety; but the whole is too heavy, obscure, and inconsis tent to become a favourite either with devout Christians, or the admirers of poetry.

Ode to Desolation, with other Poems. By Matthew Weld Hartstonge, Esq. 8vo. 75. The Aliad; an Heroic Epistle to Clootz Redivivus. By Chas. Edw. Stewart.

28.

The Poetical Works collected of the Right Hon. Lord Byron. 4 vols. fc. 8vo. 11. 8s. Poems. By Hugh Lawton, Esq. royal 4to. 11. 55.

The Missionary. By the Rev. W. L. Bowles. 2d edition.

[July 1,

James Fox in the House of Commons. vols. 8vo.

In 6

Prefixed to this collection of parliamentary reports, is a Letter from Lord Erskine to the Editor, which, as a composition, defies all criticism, though the noble author unquestionably intended it for publication. We have no wish to treat the memory of Mr. Fox with severity, on account of his unmeasured opposition to government, nor to find fault with his friend for the vulgarity of his language: but when the one is set up as a model of perfection, and the other assumes the character of a lecturer, we may be permitted to call fin ques tion the truth of the panegyric, and to censure the writer who takes upon him to deliver his decision peremptorily upon questions of the greatest national importance, without assigning any reasons duct of Mr. Fox is justified without any abate for his judgment. Here, however, the public conment, and even his admiration of the French revo lution is still defended, though Lord Erskine has candour enough to acknowlege, that the allies were warranted in demanding the exclusion of Napoleon, and that the restoration of this man is justifiable ground for war at the present moment. We cannot help thinking, however, that if the great orator, whose speeches are here collected, were now in the House of Commons, he would take the opposite side, and be as virulent in resisting the right of dictating to France at this time as in the year 1793, when the revolutionary madness threatened to annihilate all the monarchies in Europe.

Report on the State of France, made to Louis XVIII. in Council, by the Viscount de Chateaubriand, Minister Plenipotentiary of his most Christian Majesty to the Court of Sweden. To which is added, the Manifesta of the King, addressed to the French Nation, as drawn up by Count Lally Tollendal. Svo.

3s.

3s.

POLITICS AND POLITICAL ECONOMY.

1815.]

Parliamentary History of England, Vol. XXV. royal 8vo. 11. 11s. 6d.

Parliamentary Debates of the Session 1813-14. 2 vols. royal svo. 31. 3s.

SCHOOL BOOKS.

An Introduction to Arithmetic, in which the Method of Teaching the Elements of the Science is simplified, and particularly adapted for Private Instruction. By A. Vincent, Private Teacher of Writing and Accounts, and Inventor of the British Abacus. Oxford, printed for J. Cooke, and Thos. Robinson, Paternoster-row, London. 8vo. 6s,

It is a trite remark, that practical men generally fail to describe with sufficient perspicuity those aids to the performance of their business which long and attentive exercise gradually suggests to them. Sometimes, indeed, as the methods which lighten their toils are insensibly acquired, so these ready-reckoners continue to exert them, without reflection on their utility. Mr. Vincent furnishes an exception to this rule: he seems to have em ployed the opportunities which his situation, as a teacher of accounts, presented to him, in a sedulous observation of the minute difficulties which embarrassed his younger pupils, and a careful collection of the means which succeeded best in clearing the way before them, An affectation of elegant precision has too often induced modern compilers of elementary treatises to despise the wordy precepts of the instructors of their forefathers. The road of calculation, however, may be made smooth, but not short. Teach the child to sapply, at every step of a numerical process, a reason for the rule which guides his hand; he is then already a rational, and will soon become an expert accountant. It is apparently with this view that Mr. V. has composed his work. He has, accord. ingly, sought to explain the notation and numeration of Decadal Arithmetic more fully than is usual in similar publications, and proposes that beginmers should be accustomed to spell numbers as they would words (p. 5.)-In treating of the four cardinal rules, he has studiously kept in view the distinction between the simple and local value of figures; and those who remember the doubts which perplexed their infant minds when first introduced to the mysterious operations of "borrowing," "carrying," and " bringing down," will duly ap preciate the short notes subjoined to each in the form of question and answer. His selection of

547

Historical Account of the Episcopal See and Cathedral of Salisbury, principally compiled from the Records of the Establishment. By Wm. Dodsworth. Royal 4to. 31. 13s. 6d. large paper 61. 6s, and 81. 8s.

VOYAGES AND TRAVELS. The Journal of a Mission to the Interior of Africa, in the Year 1805. By Mungo Park. Together with other Documents, official and private, relating to the same Mission. To which is prefixed, the Life of Mr. Park. 4to. 11. 11s. 6d.

The name of Mungo Fark is dear to the lovers, of science, and the present volume will be read by them with mixed emotions of pleasure and of sor row. They will be gratified with the narrative of his travels, as related by himself, but the additional journal of Isaaco, who was sent by Governor Max well in search of Park and his companions, cannot, fail to excite much regret. This last account is very confused and tedious, and were it not for the connexion which it necessarily has with the history of the unfortunate traveller, the publication of it would merit censure. The prefixed memoir of Park is extremely well written, and the Editor has discharged his trust with a scrupulous fidelity, which is the more commendable, as the example of Bryan Edwards, in touching and colouring the former volume of travels, was alluring enough to have been imitated. The appendix of notes is very valuable, and among these we cannot avoid no ticing, in terms of strong approbation, the disquisition on the termination of the Niger, which seema to be identified with the Congo.

written during the Campaigns of 1812, 1813 Letters from Portugal, Spain, and France, and 1814. By S. D. Broughton. 8vo. 125.

it with taste.

The Casket, containing Six Waltzes, for

the Piano-forte. Composed by P. Antony Corri. Chappell. 4s.

Upon unlocking this casket out dropped" the diamond, the ruby, the emerald, the sapphire, the topaz, and the amethyst." We congratulated Mr. Corri upon this bright constellation, but we more than suspect that he has peeped into a casket of more worth than all of them put together-we' mean the works of Mozart; for though his Waltzes are extremely pleasing, we can trace that master in some of his most brilliant passages,

No. 2. Goulding and Co.'s Periodical Collection of Symphonies and Overtures, in Parts, for a full Orchestra, which may likewise be performed by two Violins, Viola and

543

Violoncello. Composed by Antonio Rosetti. 6s.

Likewise the above, arranged for the Piano-forte by J. Mazzinghi. Goulding. 3s. The style of Rosetti consists in selecting the most pleasing subjects, and working them with scientific skill; and while his pieces were performed to admiring audiences, his prototype, Dr. Worgan, took pains to pick out the most dry, uncouth subjects he could think of for his Themas, in order to shew his learning in the elaboration, and on all occasions carefully avoided being betrayed into any thing like air. We have more than once witnessed his modulating round the whole circle of the keys, in his crabbed way, amid the hisses of the audience; yet this man was a great master and a profound theorist. We draw

this contrast only to shew what taste and science

combined will effect. But to return to Rosetti's Symphony. The subjects are light, pleasant, and well adapted to modulation; there is a continued kind of fuguing or imitation throughout the whole of the first and last movements, which is very delightful. Let not ladies be shocked at the word fuguing, for in this author there is nothing of the stiff formal cathedral mauner which alarms many females of taste, but every thing to gratify the ear as well as satisfy the understanding. Mr. Goulding will render an acceptable service to the public by bringing forward more of this elegant Composer's Overtures,

"Jenny shall never see Sandy again," a new Scotch Ballad; and, "I'll do my Best to Please You" sung by Mrs. Bland at Vauxhall Gardens; written and composed by John Parry. Bland and Weller. 1s. 6d. each.

The manager will have no occasion to engage a poet, as Mr. Parry fills the offices both of wiiter aud composer. There is a particular style for Vauxhall songs which composers are required to fall into. If the music were better, that is, more learned, perhaps it might not please so well, and this gentleman seems to have hit off the costume (if we may be allowed the expression) of the songs extremely well; and as the frequenters of the Gardens are sworn enemies to " harsh discords and unpleasing sharps," no doubt such an agreement will be made with him as was once entered

into with his predecessor, Mr. Hook, who obtained the place of organist at a certain church on the other side of London Bridge, with this express stipulation, that he should play no discords.

L'Orage, Rondo Pastorale pour le Pianoforte, en imitation du celebre Rondo de Steibelt. Composé et dedié a Mademoiselle Gibbins. Par T. Latour, Pianiste de son Altesse Royale Monseigneur le Prince Regent. Chappell. 4s.

Steibelt's Storm has been long considered as a

a

[July 1,

chef d'œuvre, and been played by young ladies as kind of finish to their musical education. Many attempts have been made by contemporary composers to rival it; such as Woelf's "Calm," and his "Ne plus ultra," both of them exe:llent compositions. Mr. Latour now tries his hand. He has chosen an easier key, his modulation is good, and goes into no untunable keys, nor do we encounter many of Lord Stanhope's wolves; the imitation of Steibelt is tolerably close, without approaching to plagiarism. L'Orage possesses many agremens, has much intrinsic merit; and when it becomes known, will no doubt be as popular as the Storm of Steibelt.

The much-admired Overture to the cele brated Opera of Proserpina, performed at the King's Theatre, Haymarket. Composed by Winter: arranged for the Piano-forte by M. C. Mortellari. Falkner. 2s. 6d.

The minor key opens a fine field for the display of chromatic modulation, and no man knows better than Winter how to avail himself of it. Hesen the bold energetic subjects produced in the second movement of this overture, elaborated in all man. ner of forms and varied in all keys. It is uncommonly well adapted for the piano-forte by Mr. Mortellari, who from such pieces of his as we have seen, bids fair to rival the genius of his grandfather, the celebrated vocal composer,

The Fire-Fly. Written to an African Air, and inscribed to Mary Louisa Stanley, by Abraham Hewlings, of the Middle Temple. Falkner.

25.

ing, with brief criticisms, its most pro minent features.

Previously to the opening of the present cxhibition, the expectations of the

1815.]

public had been highly raised, by reports from those artists and amateurs who had been favoured with a sight of Sir Thomas Lawrence's portraits of the Prince Regent and the illustrious characters who last year honoured this country with their presence, and of other great works in progress; and we think the coup-d'ail of the exhibition does not disappoint anticipation.

However highly we might be delighted with our first view of the pictures, we must confess that repeated visits, and a more critical examination of them, restricted our diniration to a comparatively small number; but among these, are some with a character of such decided excellence in landscape and portrait, that we are induced to think the present exhibition has not been surpassed in those branches of the art since the days of Reynolds, Wilson, and Gainsborough. In the historical department we observe a melancholy deficiency; indeed, with the exception of the venera ble and illustrious President's admirable sketch for the large picture of Christ Rejected, we saw nothing worthy of attention. Mr. Howard and Mr. Thomp son have each of them some poetical pictures; and there are several moral and fancy subjects by Wilkie, Bigg, Bird, Mulready and Collins; landscapes by Turner, Callcott, Hofland, Chalon, &c. The remainder of those pictures which give consequence to the present exhibition, are portraits by Lawrence, Owen, Philips, Shee, Beechey and Lonsdale.

We shall proceed to offer some remarks upon some of the principal performances in the order of the catalogue. Nos. 1, 46, 191, 314, are Portraits by R. R. REINAGLE, A.-No. 1, T. W. Coke, Esq. M. P. and 191, The Countess of Guildford, are his best pictures. We were surprised to see but one landscape (285, Cattle: Evening: a distant View of Staines Church) by this artist, whom we have hitherto considered a landscape painter; but his pictures this year prove his general powers in the art. We must confess we should prefer seeing his masterly pencil employed in landscape; but are well aware that the almost exclusive patronage bestowed on portrait painting, may render that line of art a melancholy measure of expediency.

Nos. 5, 46, 71, 128, 149, 287, 291, are Portraits by W. OWEN, R. A.However deservedly high Mr. Owen may have hitherto ranked as a portrait painter, his works of this year cannot fail NEW MONTHLY MAG.-No. 18.

949

to increase his professional reputation. 128, Sir J. Radcliffe, Bart. we think the finest portrait in the exhibition; as an example of the true, in opposition to the general and ideal, it has never been surpassed. The generalized heads of Kneller, Lely, and other artists of their day, appear like shadows in comparison with the amazing reality of this admirable performance. There is such breadth of light and chaste harmony of colour in the whole, together with so fine a disposition of the subordinate parts of the picture, that we are almost disposed to call it a perfect work of art. Several of Mr. Owen's other pictures deserve particular notice, but our limits forbid us to enlarge further. We do not think 291, Portrait of a Lady, among his happiest efforts.

Nos. 6, 94, 158, 192, 258, 281, 292, 316, Landscapes, by W. M. Turner, R. A.--The works of this great artist are always a high intellectual treat to the happy few who can feel, and duly appreciate, the sublime and beautiful in Art. There is a splendour and magnificence in the composition, forms, colour, and general arrangement, of his Dido Building Carthage, (158) that leave him without parallel in the epic style of landscape painting. Crossing the Brook, No. 94, is a delicious scene, full of the exquisite tone of air and freshness of spring or early summer. Mr. Turner's other subjects are from Switzerland, and display the richness of his fancy, his fine eye for colour, and his power over his material in water colours.

Nos. 16, 58, 67, 184, 197, 221, 296, Portraits, by J. PHILIPS, R. A.-We have observed with pleasure the gradual improvement in Mr. Philips during several successive exhibitions. After a certain degree of excellence in art is attained, it is delightful to watch the progress of a powerful and ardent mind, expanding by study and practice, and stretching on towards ultimate perfection. 221, Portrait of Lord Algernon Percy, 227, E. Jukes, Esq. in the dress of an Arabian Sheik, are pictures on which Mr. Philips may rest his fame in security: either of these heads would bear a comparison with the best portraits of Titian for breadth and truth of colour. His female portraits, 58 and 67, are remarkable for the delicacy of the carnations and the general loveliness of character.

Nos. 17, 146, 166, by W. ALLAN, evince considerable talent in the artist. 17, A Jewish Merry-making, previous

VOL. III.

4 C