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article, the extracts from the journal of madame Brulart's travels with her disciples, through various parts of France. She describes, in a very agreeable manner, many objects unvisited by the generality of travellers. The most complete accounts are those of the monastery of La Trappe, a villa called Navarre near Conches, Maupertuis, Cayeu, Mont Saint Michel in Normandy, &c. Of Navarre our governess observes, • I believe that the gardens here are beyond all comparifon the most beautiful and agreeable in France: they appear to me infinitely superior to those of Chantilly: they are immenfe, and united to a vast foreft. The pieces of water are admirable; a beautiful and large natural river pafles through the gardens, and forms streams and cafcades which play night and day, and in all fcasons. The wonderful beauty of the woods and waters, that majestic forest which surrounds the gardens, the profufion of flowers, the great quantity of rare trees and Thrubs, the magnificence of the buildings, the variety of the ground, the good talle and greatness which rule in general the distribution and the plan, the vast extent of the gardens, all conspire to render this place truly worthy to excite the curio fiey of our amateurs and of foreigners. In the French division the temple of Hebe is the most remarkable; it is delicious from its cascades, its flowers, and the points of view which embellish it. In the English part, the most charming fabric is the temple of Love, in the isle of the fame name. On the outside it represents a beautiful temple in ruins, ornamented with antique basso relievos. The inside is magic; an elegant round faloon, clothed with white marble, and supported by columns of cryftal, of an exquisite violet colour, through the transparency of which the day glimmers. Many tripods enriched with gilt bronzes, and upon which perfumes burn, are placed between the columns. In different recefles are placed canopies. This faloon is lighted from the cupola, and by the mild light which penetrates through the columns. The furniture, which is of white fatin embroidered, does not correspond with the rest: it ought to be of violet fatin with gold fringe ; and I should also with that the cupola were glazed with violet-coloured glass, to agree with the pillars.'

The following defcription presents a strong contrast. We went this afternoon to fee a very singular village, called Cayeu. It is on the sea-lhore, and consists of about 800 houses. The fhore is there very high, and is compofed of sand thrown up by the wind, which fometimes carries the fand all over the village ; so that in walking through that melancholy place one is up to the ancle in fand, and for a great extent there grow's neither tree nor buth, nor a pile of grass. One would believe one's-self transported into the deserts of Africa; and when the wind is violent, which is common on the coast, the sand rises in whirls, and entirely covers this unfortunate village. But fishing, and a consequent security of subsistence, retains the wretched inhabitants, in spite of so much misery, and in spite of the deprivation of verdure, fruits, herbs, sweet water, and of all that nature every where else offers to the poor.'

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We cannot conclude without recommending madame Bruz lart's observations on the gymnastic part of education to public attention ; for this important province, though gradually acquiring notice, is not yet regarded in the essential point of view which it demands.

Storia della Pittura, e la Scultura, da i Tempi pin Antichi. The History of Painting and Sculpture from the earliest Are

counts. Vol. I. 4to. Caleutta. 1788.

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corresponding page for page. The author, Mr. Hickey, informs us in his Preface, that the idea of such a work had

ngaged his casua: reflection for somie confiderable time; but ise had not an opportunity of pursuing his design, until the leisure of a Now India voyage suggested the means.

* From the limited number of books which formed his little collection during the passage, and from the small hopes which he entertained of procuring here such as were necessary for his purpose, and for a variety of other reasons on his arrival in Calcutta, he determined to reserve for fome future leisure, Tuch as a returning voyage might afford, the employment of resuming the subject.

• But the intense heat which for a certain portion of a year, almost suspends every occupation, but that of writing, at which time other circumstances unite to cause a cessation of his professional employment, and have concurred to revive the thought, and, at length prompted to a diligent enquiry after such aids as might here be obtained as to books.

* From the polite and liberal access afforded to him by those gentlemen here, who hold the most distinguished rank in their learned professions, he procured such an unexpected supply from their valuable libraries as greatly encouraged him to per severe; and, in the end enabled him to present this little ipes cimen of his labours to the public infpečtion.'

To the Preface fucceeds an Introduction, the first paragraph of which is chofen, as an impartial specimen of Mt. Hickey's prolix language, and uncommon phraseology.

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« The works of great artists, as far as relates to the arts, form the most instructive history of their lives; and, where any further knowledge, that may develope the means by which they brought their operations to effect, can by any research or industry be attained, in cannot fail to advance the progress of the arts, and strengthen the force of those examples. Men of singular talents, and accomplished powers, in professions whole original merits lye in the intellect itself, are, in their characters and manners also, subjects concerning whom our curiosity is naturally excited ; and often, from a contemplation of these, lessons of instruction may be derived, of further indulgence to the enquiry: and, though the essential uses that are to be drawn from the lives of the artists, more immediately relate to the arts themselves, yet, from the influence which their encouragement and superior progrefs in-a state has upon its wealth and political confequence, it is a subject which, in fome measure, cannot but be interesting to the community at large, but more especially to the select and en. lightened representations of it."

In the same style is the rest of the work; which is, in ges. neral, illiterate, erroneous, and languid, in ro, inferior degree It is almost entirely derived from the productions of Adriani Carlo Dati, and other Italian writers, wlrose sentences supply much of the Italian text. The original writers, Mr. Hickey seems rarely to have consulted; and we cannot find that Junius de Pittura Veterum is even known to him by name. We fhall only further remark on the Introduction that Appelles and Felebien, are specimens of mere orthography; and that the authors of the lives of the painters, at the end of Dryden's translation of Fresnoy, unknown to Mr. H. was one Graham.

In the work, as our author informis us, the paffages not marked with inverted commas, are from Adriani, &c. and the rest of the work must be laid to the author's charge; who, as we judge from the conclusion of the Introduction, is a por: trait painter. Not to speak of the absurdity of putting marks of quotation to his own paragraphs, and omitting them before the passages really quoted, we must say that the verbosity and ungrammatical Italian may be fairly charged to the author, but little of the sense or information is his own.

Mr. Hickey has a particular ill fortune in stumbling on the threshold: his work begins with the following curious sentence:

• The remote antiquity to which the arts are indebted for their origin, lies so far beyond the investigation of their researches, that even our imagination is frustrated in the ato tempt to alight upon the period of their outset.'

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'The origin and early progress of painting is traced, in a vague and inauthenticated manner, from Egypt to Greece. Many are the digre lions on Homer and Herodotus, and other trivial themes ; but as a more favourable specimen of this work, we shall select the following extract. After mentioning the supposed invention of painting by the Corinthian maid, and the progress of Cleanthes of Corinih, who drew portraits without the aid of the lamp and shadow, Mr. H. proceeds.

• The imitative powers, thus roused into action, communicated their influence from Cleanthes to Ardices of Corinth and Telephanes of Sicyon; who both carried the art a step farther, boldly venturing to mark the inward portions of the figure; and, by means of lines scattered throughout, attempted to shadow it, without, however, the allistance of any colour. At this stage of the art it was the custom to write, under each. performance, the name of the person or thing which was intended to be represented.

• To give to this last improvement of shadowing, by lines and scratches, the addition of colour, fell to the invention of Cleophantes of Corinth.

To him, fucceeded Hygienon, Dinias, and Charmas; who advanced the art so far as to diftinguish, in his pictures, a man from a wonran, without the assistance of writing at the bottom.

"Eumarus, the Athenian, ventured to attempt drawing a variety of figures, and

Cimon, the Cleonian, improved upon him, so far as to draw objects out of their direct and horizontal positions, and boldly venture at foreshortenings, and also to turn the face into different directions, to mark the articulation at the joints of his figures, diftinguith the veins, and bead his drapery into fome folds.

* This effort, therefore, of Cymon, must appear to have been no inconsiderable stride towards improvement.

• However, to this stage of the art we can easily conceive that its attempts might have arrived at a very early progress of cultivated society, not only amongst the Greeks, but in the infancy of any other nation; and it is, perhaps, the very mode of proceeding which, in every country, the art would adopt, independent of communications with more enlightened people. Hence, amongst those of Greece, who afterwards became the most illustrious in the arts, we may ascribe that progress, as far as the time of Cymon, to the remote ages of their antiquities; in which proceeding we are seconded by the ancient writers, to whom no memorial had been tranfmitted respecting the period in which those artists lived.

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In this place there succeeds an interval of great extent, from which not a ray of information proceeds, to aflift our enquiries, in the history of Grecian artists, until the time of Candąules, king of Lydia, who died about 690 years before the birth of our Saviour; and of whom it is recorded, that a picture, in which Bularchụs had painted a battle of the Magnesiais, afforded him so much pleasure, that he rewarded BuJarchus for the picture with its weight in gold. In such a degree of estimation was painting held at that period.

“ From the testimony of Pliny it is also affirmed, that in his time there were evident proofs that painting had been introduced, even in Italy, before the time of Romulus; for, that in the ancient city of Ardea, there existed pictures of that antiquity, and that had been fo well preserved as to appear of recent date,

At Lanuvium also, and by the hand of the fame artist, he says, that there was an Atalanta and a Helen of such excellent performance, that Pontius, the lieutenant of the emperor Cajus, wilhed so much to have them, particularly the Atalanta, that he would have preserved them from the ruins of the temple, and taken them away, if the vaulted shape of the ceiling, where they were painted, had permitted him to re,

By what steps the art had advanced to that point, reached by Bularchus, about the 20th olympiad, lies, as we have ob served, wholly concealed from our knowledge ; but, from what has been laid down, it must appear evident, that the progress was not made by those flow degrees which, without the intercourse of other nations where the arts had already arrived at a flourishing state, the Greeks of themfelves would have advanced it. The arts were at once transplanted to Greece with the colonies from Egypt.

• That the records of painting, prior to the 20th olympiad, should not have reached us, does not appear a matter of surprize; but that from that period a space of two hundred years íhould have elapsed, without furnishing us with any memorials concerning them, cannot but excite our wonder ; efpecially as that space camprizes, in the Grecian history, a catalogue of names, which either as heroes, philosophers, hiftorians, or poets, gave the brightest luftre to their annals. We, hence, have no inconsiderable cause to lament the Glence. under which the art, during that period, continued its operations.

Upon this pausç our author passes to the origin of ancient sculpture. After which we find the life of Phidias, followed by a chronological table of the progress of ancient painting and sculpture. Mr. Hickey then returns to the history of

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