Moeres, king of Egypt, another in honour of his queen, and both were placed upon two thrones, supported by two pyramids, which were raised 300 feet high, in the middle of the lake Mores; so that notwithstanding the prodigious circumference of this lake, these two statues were conspicuous from its banks. The most eminent of this kind was the Colossus of Rhodes, made, in honour of Apollo, by Chares, the disciple of Lysippus, who spent twelve years in making it; and after it had stood 1300 years, it was thrown down by an earthquake. The dimensions of this statue are differently stated; but all accounts admit of the fact, that one of its feet stood on one side of the mouth of the harbour, and the other on the opposite side; so that ships under sail passed between its legs. Some of the moderns have doubted whether there was such a statue at Rhodes as the colossus above described, and, indeed, the extravagant dimensions ascribed to it would tempt one to doubt the truth of the relation; but being mentioned by so many writers of reputation, it is most probable that there was at Rhodes an image of a prodigious size, dedicated to the Sun, though the hyperbolical or figurative expressions used by some writers concerning it may have given occasion to others to magnify its dimensions considerably beyond the truth. The Chinese were also famous in this respect. The monstrous Colossus at Maco is reckoned among the rarities of that country. It is one of their principal idols or deities, is all of gilt copper, and is seated in a chair 70 feet high. No less than fifteen men, they say, can stand conveniently on its head; and its other parts being proportionable, one may from thence form a judgment of its enormous bulk. What Diodorus says of the tomb of Osymandes is remarkable. It was built, says he, of stones, various coloured, and divided into many large apartments; the greater part filled with colossal statues of men and beasts. In one part, the history and exploits of Osymandes was engraved on the walls; in another part was seen an infinite number of statues representing an audience attentive to the decisions of a full Senate; in the midst stood the judge; at his feet was placed the volume containing the laws of Egypt, and round his neck was suspended, by a string, the Image of Truth with its eyes shut.

Turning, which is a branch of sculpture, seems to have been of very ancient invention. Some, indeed, to do honour to the age, will have it brought to perfection by the moderns; but, if what Pliny, and some other ancient authors relate, be true, that the ancients turned these precious vases, enriched with figures and ornaments in relievo, which we still see in the cabinets of the curious, it must be owned (however great the excellence of our own sculptures) that all that has been added in these ages makes but poor amends for what we lost of the manner of turning of the ancients.

Statuary is likewise a branch of sculpture, and is one of those arts wherein the ancients have surpassed the moderns; insomuch, that it was much more popular, and more cultivated among the former than the latter. Phidias, we are told, was the greatest statuary among the ancients, and Michael Angelo undoubtedly among the moderns.

ORIGIN AND PROGRESS OF PAINTING.

The invention of painting is generally attributed to the Egyptians, at least as far as the four principal colours. The knowledge they had of Chemistry seems to make this opinion certain; besides, the

paintings still to be seen among the old remains of the Egyptian buildings, which have so long resisted the injuries of time, and which still retain a fresh and lively colouring, seem to put the matter beyond dispute.

Painting, although the accurate virtuoso cannot trace it so high, was (according to Andrews) much used in the eleventh and twelfth centuries, to decorate churches, by the Anglo-Normans.

The monk Gervese celebrates the beautiful paintings in the cathedral of Canterbury, built by Archbishop Lanfranc in the eleventh century; and Stubbs praises the pictured ornaments in the church of St. John, at Beverley, which were of a still earlier date. Peter of Blois satirically lashes the barons of his age (that of Henry 2d) for causing both their shields and saddles to be painted with beautiful representations of combats, that they might satiate their eyes with the prospect of what they were too dastardly to engage in. The illumination of books was a branch of miniature painting much followed by the monks, and with great success. The materials which these holy artists employed were so durable, that their missals still dazzle our eyes with the brightness of their colours and the splendour of their gilding. Dr. Heylen says, the art of painting in oil was, till lately, universally attributed to John Van Eyk, a native of Mae seyk, who first mixed colours with linseed and walnut oil, in 1410; but Hessing, a German writer, has found in Theophilus, who lived in the eleventh century, a passage plainly mentioning the mixture of all kinds of colours with oil, for the purpose of painting wood-work. One author, however, contends, that Theophilus had no other idea than that of colouring over in oil, doors, windows, and other objects exposed to the weather, in order to make the colour durable.

It is certain, says he, that Cimabue, the restorer of painting in Italy in the thirteenth century, knew nothing of the art. Apollodorus, a native of Athens, carried painting to great perfection, and discovered the secret of representing to the life, and in their greatest beauty, the various objects of nature, not only by the correctness of his design, but principally by the perfection of the colours, and the proper distribution of shades and lights. Zeuxis, the pupil of Apol lodorus, carried the art much further than his master. Parrhasius, a native of Ephesus, was the rival of Zeuxis; and to them succeeded Apelles, of Cos; Aristides, the Theban; and Protogenes, the Rhodian; who carried the art of painting to the greatest perfection it ever arrived. These, and others, are mentioned by Pliny as the most celebrated painters of antiquity. To them succeeded the modern school, among whom may be named a Guido, a Titian, a Reubens, a Raphael, a Rembrandt, an Il Spagnioletti Ribera,* an Albert Durer, an Holbein, &c., and a long list of others down to the period of a Reynolds, a David, a Lawrence, and a West.

ORIGIN AND PROGRESS OF ENGRAVING.

It was about the year 1460 that engraving and etching on copper was invented. Sir Robert Strange is so interesting on this most secure depositary for after ages of whatever is truly great, elegant, or beautiful, as to deserve ample notice:

"No sooner had this art appeared," observes our author, "than it attracted general attention. All the great painters adopted it,

* See "Origin of Sign Painting in England."

with a view of multiplying their works, and of transmitting them with greater certainty to posterity. Albert Durer, and Andrea Mantegna, two of the greatest painters of that age, practised the art of engraving, and have left us a variety of elegant compositions. These early productions of the art drew, by their novelty and excellence, the admiration of all Italy. Raphael himself, that prince of painters, was particularly charmed with the works of Albert Durer, and, in return for some prints he had received from him, sent him a present of his own portrait painted by himself.

"Marc Antonio, who, by studying Albert Durer's works, had improved the art of engraving, was among the first who carried it to Rome, when the genius of the divine Raphael presided over the Ro. man school. Those who are conversant in the fine arts, know how much this painter encouraged engraving in Marc Antonio, his ingenious pupil; examine that engraver's works and you will find evident proofs of it, so much does he breathe, in his finest prints, the spirit of his sublime author. Other painters of the Roman school, as well as Parmigiano, Salvator Rosa, &c. have transmitted to us many fine compositions in this art.

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The Bolognese school furnishes more recent examples. Annibale, and Agastino, although one of the greatest painters Italy ever produced, exercised the art of engraving in preference to that of painting, and has thereby established to himself, and secured to others, a reputation to the latest posterity. Guido, Guercino, Simon Cantarini da Pesaro, the Siranis, &c. have all of them left us many elegant prints, which are so many striking proofs of their having cultivated the art of engraving.

"To see it still in a higher degree of perfection, let us examine it when the school of Reubens presided in Flanders. Here we shall find that this great painter was no less intent upon cultivating this art, than that of painting, conscious that by this means he not only diffused his reputation, but secured it to succeeding generations. Bolswert, Pontius, Vosterman, &c. were the companions of his and Vandyck's leisure hours. They esteemed one another, they lived together as friends and equals, and, to use the words of a late ingenious writer-Sous leurs heureuses mains le cuivre devient or ;'Under their hands copper became gold.' The works of those engravers, which are now sold at the price of pictures, are evident proofs of the state of the arts in those days.

"What numberless examples, too, have not Rembrandt, Bergham, Ostade, and others of the Dutch masters, left us of their desire to cultivate engravings? Have not the works of the former, which are now sold at most amazing prices, transmitted a reputation both to himself and to his country, which time can never obliterate? The Bloemarts, the Vischers, and others, were certainly ornaments to the age in which they lived.

"During the reign of Lewis the Fourteenth, what a number of great artists appeared in this profession, and did honour to France. The names of Gerard, Andran, Edelink, Poilly, &c. will be lasting ornaments to that kingdom. That magnificent prince frequently amused himself in this way; and so charmed was he with the works of the ingenious Edelink, that he conferred upon him the honour of knighthood. It has been owing solely to the honourable rank given to this art by the Royal Academy of Painting at Paris, that it has been cherished and cultivated to such a degree of excellence, that for a century past Paris has been the depositary of the finest pro

ductions in this way; and these have been the source of incredible riches to France.

"Let us, in the last place, follow this art into Great Britain:Queen Anne, whose reign has been generally called the Augustan age of this country, was desirous of transmitting to posterity the Cartoons of Raphael, which had been purchased by her grandfather, Charles the First. With this view she sent for Dorigny, the engraver, as this art was then but little cultivated in Britain.

"The reception he met with from the queen is well known. She honoured him with an apartment in the royal palace of Hampton Court, visited him from time to time, countenanced him on all occasions, and was the patroness of his undertaking. After her death, king George the First imitated the example of Anne; and upon Dorigny's having completed his engravings, not only made him a very considerable present, but conferred upon him the honour of knighthood. From the departure of this artist, who executed a work which will reflect lasting honour on Britain, the art of engraving again relapsed into its former obscurity, till towards the middle of this (18th) century, when it was revived afresh by the introduction of other foreigners, together with the successful endeavours of several ingenious natives of these kingdoms."

THE SCHOOLS OF PAINTING.

A School, in the fine arts, denominates a certain class of artists, who have made it their particular study to imitate the productions of some great master.

The school of Florence is remarkable for greatness, and a grandeur of design, bordering on the gigantic. The art of painting was revived in Florence about the year 1240, by Cimabul, who transplanted the few remaining vestiges of the art from a Greek artist to his own country. The works of Cimabul, though in the ordinary style, received the applause of his fellow citizens, and in a short time the art of painting became so considerable in Florence, that the academy of St. Luke was founded, in which, however, no painters were educated until the year 1350. Andrew Castagna was the first Florentine artist who painted in oil. Michael Angelo, and Leonardo di Vinci, contemporary painters, were esteemed the glory of the Florentine school. M. Angelo surpassed Leonardo in grandeur, while Leonardo was superior to him in the finer parts of the arts. Leonardo, full of sensibility, was fond of expressing the sweet affections of the soul; but M. Angelo, not born to experience the softer passions, sought only to strike the imagination with terror, by the boldness and force of his conceptions. Michael Angelo was placed at the head of the school to which he belonged, and died in the year 1564, aged ninety.

The school of Rome was formed by Grecian artists, who came from their own country to settle with the Romans. By them the art was handed down to the moderns, who derived all their knowledge from studying the Greek models.

This school is celebrated for grandeur of style, exquisite form, and beautiful expression. In the year 1483, Raphael Sanzio di Urbino, was at the head of the Roman school. He excelled in representing philosophers, saints, virgins, and apostles. Although he had

* See derivation of Cartoon.

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studied the works of Michael Angelo, and Leonardo di Vinci, he avoided servilely imitating them. He adopted a medium between the exquisite pathos of Leonardo, and the fire of Angelo, and never advanced a step beyond the modesty of nature. This painter died at the early age of thirty-seven years. It is a very remarkable coincidence, that Raphael was born on a Good Friday and died on a Good Friday! The celebrated Cartoons would alone immortalize him. They will be noticed by and bye.

The Venetian school was founded by Giorgione and Titian, scholars of Giovanni Bellino, who had studied the works of Dominechino. A beautiful mixture of colours was the grand object of the Venetians in their painting. Titian, or Tiziano Vecelli, having never studied the ancients, supplied the deficiencies in his education by servilely copying the objects of nature, by which practice he obtained a perfect knowledge of colouring a knowledge never acquired by the artists of the Florentine and Roman schools. This painter was born in the year 1480, and died in 1576.

The Lombard school was founded by Antonio Allegri, more generally known by the name of Corregio. The characteristics of this school are a beautiful combination of colours, an elegant taste for design, and a charming mellowness of pencil.

The Carracci, Lewis, Augustin, and Annibal, formed what is usually termed the second Lombard school. They established an academy at Bologna, called l'Academia deglia Desiderosi, in which was taught drawing, perspective, and anatomy. Lectures were also given in the various branches of the art, which were regularly delivered, until Annibal received an invitation from Cardinal Farnese to paint at Rome. The paintings of the Carracci, from the resemblance of their manner, are very often confounded together; it ought, however, to be mentioned, that competent judges of painting may easily discover the different styles adopted by the three painters.

The French school has been so fluctuating, that it is almost difficult to ascertain who was its principal founder. Miniature painting was nourished in France at a very remote period, and the French artists, in this branch of the art, were held in high estimation by the Italians. Painting languished in France after the death of Francis 1. until the reign of Louis XIII. at which time it was revived by Jaques Blanchard, who had been educated in the Venetian school. But Blanchard, though a good painter, had no hand in forming the French school. Poussin was a careful and correct imitator of nature; but he educated no pupils, and consequently did not found the French school. To the abilities of Vouet, perhaps, the French are indebted for the first formation of their school; but afterwards were still more indebted to the brilliant talents of Le Brun, who was the fashionable painter of the age in which he lived. Excepting Le Brun, Eustach le Sueur, Poussin, and Claude Lorraine, the French artists possessed little to recommend their works, in which inelegance and a certain stiffness of expression might invariably be found. The Count de Caylus reformed the bad taste of his countrymen, by directing their attention to the models of Greece and Rome.

It is needless to inform the intelligent reader, that the French capital is adorned with those invaluable works of art, which formerly created so much emulation at Florence, Rome, Turin, and Naples. A similar collection is now forming in this country, The National Gallery, which will, we hope, eclipse even that of our French neighbours.