it essentially from pictures of another kind; there may be cases in which the limits of the different branches of the art may appear to be confounded; but here a rigorous solution of this difficulty is not indispensable. Among the pictures which may be admitted to competition, there are unquestionably some which possess the characters peculiar to the historical class. The object at present is to examine what pictures, possessing these peculiar characters, combine with them the highest degree of those beauties which are peculiar to all departments of painting. That which eminently characterizes historical painting, is the choice of a subject, either of history or invention, either fabulous or allegorical, which presents to the painter a noble or interesting action, characters and passions to express; and we may add, too, that grandeur of execution, that high style of design, which constitutes the heroic, and above all, that ideal beauty, the model of which, not existing in nature, is a creation of the artist, but, at the same time, is only nature itself, conceived in the highest perfection, Works of painting are considered under the two views of invention and execution. Under invention, we comprehend, 1st, The thought which creates a subject, or directs its choice, when drawn from history or fable, and which forms a conception of it suited to the rules of the art; 2d, Picturesque composition, which presents the unfolding of this original idea. This second part of invention embraces the original disposition of the scenes, the effect aimed at, the particular arrangement of the groupes of figures, and of the accessory objects.

The union of these different parts forms still only the plan of the work; the merit of execution must eorrespond to that of invention, and

execution requires knowledge of design, truth and richness of colouring, the observance of the laws of perspective, good taste in the drapery, and harmony in the general effect; such are the different qualities, the union of which would form a perfect work. It were unreasonable, doubtless, to expect to find, in the works submitted to our examination, that complete perfection, of which no example is known; it is enough that in a picture, some of the most eminent parts of the art be carried to a great degree of superi ority, in order that the work may deserve praise, and the author take his place among great artists. It is not by faults, but by the number and the species of beauties, that we must appreciate the productions » of genius.

Upon these general principles, we proceed to examine the historical pictures, which have appeared wor thy of entering into this honourable competition.

The oldest of the works which have appeared during the prescribed period, is the picture of M. David, representing the Combat of the Sa bines and the Romans interrupted by the Sabine women, which was exhibited to the public, in the month of Nivose, year 8. name of the author, already celebrated, the grandeur of the compo sition, the distinguished merit of the work, united in giving a pecu liar lustre to this exhibition,

The

This picture is too generally known to make it necessary to give any detailed analysis of it. The subject is one of those which may be called free subjects, that is to say, the poetical invention, and picturesque composition of which, are entirely at the disposal of the artist, Under these two relations, the work has been accused of wanting originality; it has been pretended that the first idea of it was copi

ed from an antique stone, which goes under the name of the king's medallion, and is described in the antiquities of Montfaucon; an old Flemish picture has even been mentioned, which had evidently this antique stone for its model. We do not think ourselves called upon to discuss this charge; but even though the antique stone and the Flemish picture should have suggested to M. David, the general disposition of this picture, it bears so peculiar a character of grandeur and boldness, that it would be difficult to dispute his property in a composition into which he has infused so many beauties.

We may observe, that M. David has represented the principal figures of his pictures entirely naked; this boldness shocked many spectators, and gave occasion to very animated discussions. M. David attempted to justify the liberty he had taken, in an explanatory notice respecting his picture. He fortifies himself by the example of the ancient sculptors; but is it certain, that what is allowed to one art, the productions of which, by always striking the eye, prevent all illusion, is equally suited to painting, the objects of which, capable of offending against decency by presenting themselves with the forms and the colours of nature, may possess an intolerable degree of truth. The second argument employed by M. David, is not more convincing; he alleges that it would have been more easy to have invested his characters with draperies and armour, than to paint them naked; and he adds, he who can do the more, can do the less;" but in the arts of imitation, the first rule is not to injure truth and propriety; and it is not the most, but the best, that must be aimed at. We cannot but think it strange, that the author should have given clothes to the Romans and Sabines, with the ex

46

ception of their two chiefs, whom it yet appeared more proper to repre sent dressed and completely armed, because their preservation was of the greatest value to the two nations.

The general character of design in the picture of M. David, possesses grandeur and novelty; the design of the figure of Romulus, is noble and firm; but that of Tatjus has more weight than force, and the figure is placed upon its legs, rather like an opera dancer than a warrior.

We may also reproach this picture with confusion in the plans, a weak and monotonous tone of colouring, and, in general, a want of vigour; but although we do not sufficiently recognize the firm and brilliant pencil which distinguishes other productions of M. David, the numerous beauties of the first order which are observed in this, discover clearly the hand of the great artist.

Telemachus pressed by Mentor to quit the isle of Calypso.-This picture is full of charms; M. Meynier seems to be penetrated by the spirit of Fenelon.

The composition is rich without confusion, and the colouring brilliant without exaggeration. The picturesque effect is true, the design pure in general; although we may blame some of the details, the manner is noble and graceful, the pencil delicate and animated. The ground is a landscape formed with such art, that (perfectly beautiful considered in itself) it adds to the lustre of the principal figures.

This composition is not distinguished by grandeur of character, which arises perhaps from the very nature of the subject. Mentor has not the dignity which becomes the divinity concealed under the features of that old man, and, in general, the work is a little deficient in warnith. Notwithstanding these re

marks,

marks, this is one of the pictures now presented to our notice, which contains the fewest faults, with many real and very distinguished beauties. We may observe also, that the figures in this picture are only half the natural size.

The picture representing the Consternation of the family of Priam after the death of Hector, by M. Garnier, presents a beautiful, grand, and affecting scene-a rich and harmonious colouring; but the design is feeble, and the execution soft. Thus, the richness of the picturesque composition, and the noble and affecting ideas, lose, by the fee bleness of the execution, a great part of the effect which they would otherwise have produced upon the spectator.

A scene of the deluge, by M. Gi rodet.The poetical thought, and the picturesque composition of this picture, are entirely the invention of the painter. The artist has been blamed for putting a purse in the hand of the old man, in order to characterize the avarice to which old age is liable; this idea was thought too far fetched, and unworthy of so grand a scene.

- There is a degree of rawness in several parts of the picture, and particularly in some of the draperies; the waters are too transparent; in such an event, they ought to have been dirtied, by the quantity of earth which must have mixed with them in so violent a commotion.120k ?

Such are nearly all the observations which the utmost severity of criticism can make upon this work, above all, when we consider it, not as the representation of the universal deluge, but only a scene of it, under which title the author has presented it.339 is aferopol :

But the energy and sensibility which M. Girodet has displayed in

CHOL 193 10 inom sát mi konzi

this composition, are deserving of the highest praises. This scene, so affecting and so terrible, presenting to our view all that is most awful in fear and extreme danger, presents only noble movements, and whatever is most pure in beautiful nature. The union of different ages and sexes; adds likewise to the beauty of the picture, by happy contrasts presented with equal grace and strength, and discovering in the artist a profound knowledge of nature, and of what constitutes the beautiful. The pencil of M. Girodet, always precious, is, in this picture, equally brilliant and vigorous. The colouring and effect are both carried to a very high pitch of excellence. In short, we may regard this work as one of the finest in our school, in regard to expression, to the science of design, and to execution. (^\

(To be continued.) 17.

Aug. 12This day, between four and five o'clock P. M. a thunderstorm, from the south-west, passed over Edinburgh, the most severe that has occurred for several years past. It was accompanied with torrents of hail and rain. The lightning did no mischief to the city or its neighbourhood; but a farm-stead ing near Midcalder was burnt down. This thunder-storm was very exten sive; its violence having been equally felt at Glasgow, about an hour earlier when the fine monument erected in the Green, in honour of Lord Nelson, was much injured and shattered. In the course of the same day, thunder prevailed about London, York, and various parts of England; but none at that time occurred in the northern parts of Soulland, at least beyond Aberdeen, is