acts, somewhat too loftily, we think, an acquiescence in his awards. We are not, however, quite prepared to defer to this newly assumed authority; and must take the liberty of remarking, that, while the present work is equally rich in poetical beauty, it is, in several respects, inferior to his earlier production.

In the preface, the author, after stating that this volume contains, in six cantos, the three remaining books of a poem, which was printed some time since, under the title of Rhymes on Art, &c; and accounting with his readers for the late appearance of that, the non-appearance of which, at all,' he says, would probably be as little remarked as regretted'; proceeds to inform us, that he had originally intended, in one poem of four parts, to treat at large, of the rise, progress, present state, and principles of painting. On prosecuting this plan, however, he soon found that his ambition surpassed his ability: he therefore contracted his views; and contented himself with attempting to erect a small didactic lodge, on the site of the poetical palace which he had projected.'-Besides these articles of intelligence, the preface contains some loose discussion on the state of the arts: but as it does not excite much interest, we shall venture to pass it over; only remarking, in general, that compositions of this kind, which are intended to pre-dispose the reader in favour of the main work, would lose none of their effect, by being drawn up with a little care; and that they should, in an especial manner, eschew that obtrusiveness of modesty, which never fails to excite the suspicion of concealed vanity. In these respects, we confess, we are not entirely satisfied with Mr. Shee. His preface, and many of his notes, seem to have been dashed off in a violent hurry, which, though the author may have mistaken it for enthusiasm, is very far, we apprehend, from adding to the weight and energy of composition. As it would be no easy matter to trace the order of Mr. Shee's design through the wilderness of digressions, episodes, and illustrations, in which it is involved, we shall altogether decline the attempt. It will be more pleasant to ourselves, and we think equally profitable to our readers, if we select a few passages which appear to us more particularly to invite, or to provoke criticism.

Exaggeration of the importance of his profession, is one of our author's most obvious and offensive peculiarities. Painting is with him the most exalted object of human effort and research; and the production of a fine picture, the proudest achievement of intellectual vigour, and manual dexterity. Historic, poetic, and scientific eminence, may

be very pretty things; but their possessors are only fit for torch and train bearers in the grand procession of Art. All this may, no doubt, appear very equitable to Mr. Shee; but to us, we confess it appears rather enthusiastic; and if artists in general, are accustomed to indulge in similar reveries, and to claim an equal homage,-we really do not care how long they are lodged in garrets, and fattened on watergruel.

Our author is pleased to observe, that,

Although the pride of erudition may possibly start at the idea, it may be questioned, whether an acquaintance with the taste of the Greeks, would not be as useful as with their literature: whether a student would not be as. beneficially employed in learning the principles of their design, as the ru diments of their grammar: in short, whether that which was considered so essential a part of their polite education, might not be advantageously introduced into ours; and an English gentleman derive as much credit from an intercourse with their arts as their language.'

This is really too romantic for systematic refutation. There is no sort of inducement to contest the point with the man who can seriously believe, that the study of Grecian literature, including, of course, the knowledge of Grecian poetry, history, philosophy, and theology, with all the light which they pour upon the character of man, and the systems of social, political, and religious existence, are, at best, only of equal importance with the study of Grecian art!-We cannot but admit, however, that Mr. Shee has infused into his panegyric some very fine poetry. The conclusion of the second canto, containing an apostrophe to the "spirit of ancient Greece,' is uncommonly meritorious.

• Hail, awful Shade! that o'er the mould'ring urn
Of thy departed greatness lovest to mourn;
Deploring deep the waste, where once unfurl'd,
Thy ensigns glitter'd o'er a wond'ring world.
Spirit of ancient Greece! whose form sublime,
Gigantic striding, walks the waves of Time;
Whose voice from out the tomb of ages came,
And fired mankind to freedom and to fame:

Beneath thy sway how life's pure flame aspired!
How Genius kindled, and how Glory fired!
How Taste, refining sense-exalting soul,
Enfranchised mind from passion's coarse controul!
Aroused to deeds, by heav'n and earth revered,
While all the Majesty of man appear'd.

How vast our debt to thee, immortal Pow'r!
Our widow'd world subsists but on thy dower;
Like Caria's queen, our relict
ages raise

But monumental trophies to thy praise!

Lo! from the ashes of thy arts arise,
Those phoenix fires that glitter in our skies;

Thy sun, long set, still lends a twilight ray,
That cheers our colder clime, and darker day;
Exhales high feelings from our glowing hearts,
Inflames our Genius, and refines our Arts:
Still at thy shrine, the hero's vows aspire,
The patriot kindles there his purest fire;
Thy virtues still applauding ages crown,
And rest on thy foundations their renown!
Beneath the mighty ruins of thy name,
We build our humbler edifice of Fame,
Collect each shatter'd part, each shining stone
Of thy magnificence, by Time o'erthrown,
Arrange the rich materials, rapt, amazed,

And wonder at the palace we have raised " 134-146.

his

In the following extract Mr. S. has, upon the whole, verv justly balanced the merits of the French and English schools of painting. He has at least done ample justice to own countrymen, though we apprehend that, in the preceding part of the note, he has attributed too much to the dry and sterile academics of France.

• In the French school,' he observes, the portcrayon supersedes the pencil; they become designers rather than painters. In the English school the pencil triumphs, and the process is reversed. They are more theoretical-we are more practical; they shew more science in the foundation-we more skill in the superstructure; the vigour of their design is impaired by the feebleness of their execution the vigour of our execution suffers in the feebleness of our design: they have more art—we have more nature; they look to the Roman school-we follow the Venetian; and it must be confessed, that their aim is the higher, though it may be admitted that our's is the more successful.'

Mr. Shee has exhibited a considerable number of poetical portraits-some real and some fictitious; and they are, we think, among the best executed and most amusing passages of the poem. Our limits will not allow of large quotations; but we cannot refuse ourselves the pleasure of transcribing part of his very animated tribute to the memory of Reynolds.

• Pride of his tine! in painting's low decay,
His genius rising still prolong'd the day,
Beam'd o'er the darken'd scene of art, and shed
A needful glory round Britannia's head:
For, long enshrouded in the night of Taste,
Remote and rude, a mere commercial waste,
She lay obscure, in Europe's scornful eye,
Convicted of a cold and cloudy sky;
Till Reynolds poured his lustre, and display'd
Her cliffs refulgent rising from the shade.
'O! proudly gifted 'mongst the graphic train,
With equal skill to practise and explain;

With all the traits of truth and taste to charm,
Pure from the pen, as from the pencil warm;

Το

grasp once more the wreaths of ancient days, And to the Painter's add the Scholar's praise!

• In him ambition's purest passion glow'd,

And sought no wreaths but those good sense bestow'd;
He scorn'd the poor, stale artifice that lays
The trap of eccentricity for praise;

The quack's credentials still where dullness rules!
The coxcomb's bait to catch the fry of fools!
With candour fraught, yet free without offence,
The mildest manners, and the strongest sense;
The best example, and the brightest rule,
His life a lesson, and his art a school,
Behold him run his radiant course, and claim
Thro' half an age an undisputed fame!
Still to the last, maintain his proudest height,
Nor drop one feather in so bold a flight.
But Fate at length, with darker aspect frown'd,
And sent a shaft that brought him to the ground;
Struck at the joy congenial to his heart,

And shut him out the paradise of Art ;*

Obscured at length the sky so long serene,

And cast in shades of night his closing scene. pp. 258,—260. The following estimate, also, of the professional character of Michael Angelo, is poetical and just.

• Next Buonaroti, rich in rival fame,

To crown whose brows, three Arts contending claim;
Majestic Genius! from whose daring hand

Springs all that's great in thought, or action grand,
Whate'er can awe the soul on sacred plan,
Or strike stupendous in the powers of man:
In forms emaciate cramp'd, before his day,
The meagre muscle scarce appear'd to play,
The story's strength, the enervate action marr'd,
Man seem'd a sapless statue, stiff, and hard.
But torpid while the plastic lumber lay,
Prometheus like, he fired the lifeless clay,
Bade every limb enlarge-each breast expand.
And pour'd a race of giants from his hand.
Behold him, still as Genius prompts, impart
A bolder grace to each subservient Art,
While now the powers of Phidias he displays,
Now leaves Palladio but the second praise,
Whether he rears the Prophet's form on high,
Or hangs the dome enormous in the sky,

* Alluding to the loss of sight which Sir Joshua Reynolds experienced a short time before his death, and which was supposed to have hastened that event, by excluding him from the gratification which he always appeared to derive from the practice of his profession.

SAL