plished in seven years. He led a life of celibacy, and was distinguished for the regularity of his manners. His genius was held in such respect, that Cosmo de Medici always addressed him with his head uncovered, and several popes caused him to be seated in their presence. He died at Rome at the age of ninety, worn out with infirmity and fatigue. In conclusion we may remark, how nearly allied is painting and poetical epic. The productions of Angelo are beyond the size of mortals, and as Mr. Shee expresses it, "he pours a race of giants from his hand." How analogous is this to the character of Ajax, as delineated in the poems of Homer, "Grimly he smil'd, Earth trembled as he trod." Epic always delights in the vast and terrific, and whether expressed by the pencil, or the pen, bears the same characteristic stamp of its origin.

This picture represents the three powerful sisters, who preside over the birth and the life of mankind. Clotho, the youngest, who governs the moment we are born, holds the distaff in her hand. Lachesis spins out the events of our life, and Atropos, the eldest of the three, cuts its thread with the fatal scissars. It is difficult to find heads more varied, and scientific. The minutest details are studied and rendered with an admirable exactness and delicacy. It is the same with the draperies, the folds of which are disposed with great care, though they display with an almost affected precision, the muscles which they cover. The colour of the picture gloomy, and concurs with the austerity of the forms to produce an involuntary shuddering on the part of the spectator. A tradition founded on some passages of Greek and Latin authors, has caused the Fates to be represented under the figure of old women, and an ancient painting in the BarbeThe Fine place, represents one of them spinning in this way. Etruscan and Grecian bas-reliefs, on the other hand, present them to us in the shape of beautiful virgins with wings. But the genius of Michel Angelo, induced him to prefer the fierce and aus tere, to the agreeable.

MR. OLDSCHOOL,

FOR THE PORT FOLIO.

MR. WEST'S PICTURE.

Ir is to be regretted that the author of "Remarks on Mr. West's Picture," in the last Port Folio, so capable as he appears of doing justice to the excellent work of a great painter, if it were before his eyes, should have consumed any time or talent in making remarks, so obviously premature, that it would be unnecessary to notice them, but for the purpose of exposing a practice too common in our country; that of condemning the artist if his work equals not the perfection of nature.

We are not a new people-as the offspring of Europe, we enjoy a full share of its patrimony, with this peculiar advantage resulting from our situation, that from the talents, art, and science of Europe, we demand the latest and most perfect that they can give, and then begin where they have finished. But however advantageous this may be in other matters, it is of some detriment to the Fine Arts, whose most esteemed productions have not been introduced here, upon which to establish any system of superior advancement; and therefore, it is that our men of taste accustomed, and with undisputed right, to decide on the merits of all literary productions, have contracted the habit of expecting corresponding excellence in the Fine Arts, and of condemning every effort that falls short of absolute perfection.

Painting, perhaps, is yet but in its infancy; but shall its eager attempts at imitation be discouraged? Shall its smiles call forth nothing but frowns, and its genius be overwhelmed with censure? --No, it required all the aid of wealth and approbation, supported by religious enthusiasm, to raise the arts in Italy to the perfection which Raphael, Titian, and the other great painters displayed. Yet neither the veneration of the people, the esteem of the nobility, nor the friendship of the learned could make gods of them, and therefore, their best works are not without faults-but these faults have not obscured their merits, and the boldness of Michel Angelo, and the magnificence of Rubens; the colouring of Titian, the grace of Corregio, the expression of Domenichino, the design

of Raphael, as well as the composition of WEST, will forever command the admiration of mankind, notwithstanding the abuse of those terms by pretended connoisseurs.

Even now in Europe, when a painter does any one thing well, his taste or talent is distinguished-for this his works are solicited for this he is rewarded-and from this he is stimulated, perhaps, to further combinations of excellence-himself perceiving in his own works more faults than others are disposed to single out for unproductive censure.

The painter's principal object is to please-sometimes to instruct sometimes to console-but always to please; then should we be pleased to dwell on the good, nor ever stop to censure the bad till all the good is exhausted. To those who practise this pleasant task, life is too short to dwell any longer on the dark side of the picture, than just enough to heighten their enjoyment of the fair side.

The outline of Mr. West's picture which has appeared in The Port Folio, was a copy from an imperfect one made before Mr. West's picture was finished. How little could such an outline speak for the painter who had been nine years unfolding the resources of his art on this his master-piece! Therefore, " we cannot rely on the truth of this sketch."*

Those who have seen Mr. West's original picture, are authorized to make the assertion, in contradiction to the concluding paragraphs of the "Remarks"-That Christ does benignly look on the sick man whom he heals like a God, and not like a posture-master, or a doctor helping his patient to rise.

2dly. If the expression of face, attitude, and manner in the picture, did not far surpass this copy of a copied outline, then truly had the painter lost his labour.

3dly. A little less care in this outline might have left the face of Christ even twice as old, without rendering it much more worthy of criticism.

4thly. The authority of ancient usage, as well as of faith and adoration, sanctify the glory round the head of Christ—yet here Mr. W's artifice is to be commended, as it need not be objected

* Remark, page 24, 2d paragraph.

to the lamps in the temple, that they shed a ray of light around the Messiah's head.

5thly. As to the colour of the dress of our Saviour, there can be little objection, if it be considered as a coarse or cast-off garment, especially as he is bareheaded and barefooted.

6thly. It will probably appear from the contemplation of the picture itself, that no object is more disgusting and unnecessary than the scene, or the painter's art required-the outline exhibits none.

7thly. Every body will not agree that there ought to have been no old or elderly persons introduced among the sick; and that the feelings of the spectator are not interested by age and infirmity.

8thly. A temperate climate and ancient habit, authorise the painter to profit by the occasion of some naked limbs to vary the colour and character of his composition, especially if the costume is preserved.

I am happy, however, in agreeing with our critic, "That the picture is a very fine one, we may well conjecture, and reasonably too, from the profuse admiration paid to it in England;" to which I would add my hope, that when it comes to this country (improved as it will be in a second edition) it will be found equally honour. able to the painter, profitable to the funds of charity, and advanta. gcous to the American School of Painting.

R.

FOR THE PORT FOLIO.

MR. BURKE'S, PRINCIPLE EXAMINED, THAT WORDS AFFECT US WITHOUT IDEAS.

A GENTLEMAN, Mr. Editor, was sometime since engaged in a controversy, in which he denied the principle contended for by Mr. Burke in his admirable essay on the sublime and beautiful. Mr. Burke maintains that words are capable of affecting us without ideas. He produces as an instance the poet Blacklock,