professing to be religious, and acknowledged to be the most wealthy of the world? Why does not the Bishop of the diocese bring the case before public charity, if he cannot appeal to national Justice? We believe that the Bishop has the power of assisting such a reverend brother; and how can he leave him whom in his pastoral letters he call 'affectionate brother' in such unchristian distress?

But this, in a mitigated sense, is the case of hundreds of the rural clergy. Even the Dissenters boast that their stipendiary ministers are far better paid than the Established Clergy. Lord Morpeth used a very sophistical argument in the House on this subject. He said, speaking of the Irish Clergy, that their incomes were set at a low average, because there was not larger funds, and because the Irish Clergy must consider themselves as persons dedicated to a laborious, painful, and self-denying office.'-Very well; be it so: but, at the same time, he allows the Irish Bishops, comparatively, princely incomes. Why are they separated from the inferior Clergy? are they not also dedicated to the same work, and ought they not to be foremost in patient suffering, as in active duty? His Lordship's argument then is hollow, unsound, and sophistical but we forbear

"Nos certe taceamus, et obruta multâ Nocte tegi nostræ patiamur crimina gentis."

ently correct and copious for the purposes intended.

Boileau's French Self Instructor, &c. &c. 1836. We are very fond of a sturdy Grammarian. When Louis de Courcillon, Abbé of Dangeau, was told by his friends of some grave political events taking place, and of the prospect of some dangerous commotions, he nobly answered: "What does it signify? Peu m'importe! Quelque chose qui arrive, j'ai là dans mon portefeuille deux milles verbes Français bien conjugués."- "Whatever may take place I have in my portfolio 2000 French verbs well conjugated."This is a consolation his successor Mr. Boileau may also contemplate, in all misfortunes; for he has given us one of the very best French grammars we have ever consulted, and which does all a book can do to facilitate the acquirement of a lat guage indispensable to all. Mr. Boileau has pointed out many grave mistakes in Mr. Cobbett's French Grammar.

Old Friends in a New Dress, by Richard Scrafton Sharpe,-that is to say, a very easy and pleasing versification of the most popular fables of Æsop, &c. will form a most acceptable present for our juvenile friends, embellished, as it now is, in its fifth edition, with eighty-two woodcuts.

Tales of the Martyrs, or Sketches from Church History, will be a very interesting book for young people. The stories are related in a pleasing manner, and will be gratifying, from the variety of the scenes and periods in which they are cast.

Arithmetic illustrated by woodcuts.— This is a small volume, displaying the plan of Mr. Arthur Parsey, (author of an excellent work on Perspective,) by which he ingeniously proposes to make proportions more familiar and intelligible to the eye by various cheque-boards, divided and coloured, as required by the numbers intended to be represented. It is an "invention" founded upon the same principles as one of the modes of calculation adopted by our forefathers, the figure of which is still retained in the floor, or table, of the Court of Exchequer. Mr. Parsey adds to his title: " by which system the principles of calculation may be acquired as an amusement:" this is his own partial fancy: figures are already the amusement of those minds which have a natural taste for them, and to such his plans will be amusing; but it will hardly attract the unwilling. Arithmetic, however, should always be regarded as a necessary business of education.

EXHIBITION OF THE ROYAL ACADEMY.

The new rooms of the Royal Academy in Trafalgar-square, Charing Cross, were visited on Friday the 28th of April by his Majesty William IV., their Royal Highnesses the Duchess of Kent, the Princess Victoria, and other members of the Royal family; and on Monday the first of May, they were opened to the public. The exhibition appears to us to be upon the whole a very fair one. Before we enter further upon the merits of the pictures, however, we must be allowed to say a few words respecting the accommodations afforded by the new building, and which we regret our inability to do in terms of commendation, inasmuch as they are extremely mean and contracted, and really very little superior to the old apart. ments at Somerset House. Of the five rooms appropriated to the paintings, we doubt whether the very best is not eclipsed by many of the larger auction rooms which we have seen in the west end of the town. The sculpture room is of equally limited dimensions, and the only thing that can be said in its favour is, perhaps, that it is tolerably well lighted. We have always considered the exterior of the edifice as sadly deficient in simplicity and breadth, but had in some measure reconciled ourselves to these imperfections under the full persuasion that, in the arrangements within, as the architect would here doubtless have the assistance and co-operation of his brother academi. cians, we should have nothing whatever to complain of. The door-ways leading from one compartment to another are so small that they entirely destroy the unity of effect which is so essential to a structure of this description; and they are withal so unfortunately situated as to cause an eternal collision among the visitors in their ingress and egress to and from one to the other. As regards space, it is probable that Mr. Wilkins may not himself bave been afforded sufficient scope or the requisite funds for the erection of such a Gallery as would give satisfaction to the public. We can readily believe that this gentleman has had all sorts of difficulties to contend with in the performance of his task; and if, in the impartial expression of our opinion of the new Royal Academy, we are somewhat sparing of our praise, we have certainly no intention of visiting its projector individually with any considerable portion of our censure. We have specimens of his ability in the metropolis which would re

flect no discredit upon the architectural taste of any age or country. The illtimed parsimony of government, and an undue consideration for individual interest, we fear, have been in the present instance suffered to operate to the disadvantage of British Art, and of a large majority of those who are engaged in that important branch of the national industry.

We have, however, the satisfaction to perceive, that the late parliamen tary inquiry has had this good resultnamely, that many pictures which would heretofore have been consigned to a cell, where they could by no possibility be seen, have this year been placed in comparatively good situations. So much for the outward appearance of the new National Gallery and Royal Academy, and the interior of that part of the latter which is appropriated to the exhibition of painting and sculpture. We shall now take a glance at the various works brought together for the inspection of the public. Of the 1,289 subjects exhibited, the most striking are we think as follow:

No. 122. The Syrens and Ulysses. W. ETTY, R.A. This picture is the largest, and, in our estimation, by far the finest that Mr. Etty ever painted. It is an historical work of the first class, and abounds with beauties of all kinds. A picture painted on so large a scale is frequently cut too much into parts, and certain portions of the canvas are found to be destitute of interest. The objects are scattered and unconnected; and the eye of the spectator in vain endeavours to encompass the whole of them at one view. No such defect is, however, to be detected in the performance of which we are treating. It betrays nothing like a poverty of matter, neither is it encumbered with a superabundance. The story of the Syrens and Ulysses is one that was admirably adapted to Mr. Etty's pencil; and he has in every respect done it the most ample justice. The sea nymphs are represented clustering around the ves sel in which Ulysses is voyaging; and here the finest opportunity is afforded the artist of displaying his knowledge of the figure, and his taste for feminine beauty, as well as his great powers as a colourist. Mr. Etty avails himself of the assistance of a model in all he undertakes. is his handmaid, and to her he has recourse, whatever may be the theme upon which he is employed, so that the accuracy of his details may be safely taken upon trust; it might otherwise be ima

Nature

gined that the proportions of the principal figure in this picture were a little extravagant. We are surprised to hear exceptions taken to the subject of the work, as there are certainly few passages in Homer, or any other author, ancient or modern, to which the talents of the painter or sculptor could be more legitimately addressed. Mr. Etty contributes three more pictures, all of which are very beautiful.

No. 267, Mars, Venus, and Cupid, and No. 295, Adam and Eve at their morning orisons, are both splendid little paintings, and would grace any gallery in Europe. The artists' pictures of this season are less voluptuous, and altogether in better taste than usual.

No. 179. Becco, on the coast of Genoa, -A. W. CALCOTT, R. A.-In his figurepiece of Raffaelle and the Fornarina, (No. 104), Mr. Calcott has not succeeded in producing a work which will materially add to the high reputation he enjoys. There is a hardness of outline, and want of texture about it, which to us are extremely disagreeable; but in the landscape we discover all the great qualities that have rendered him so popular in that pleasing department of the art.

No. 507. Lago di Lugano. C. STANFIELD, R. A.-Another delightful production in the same style. No. 463.View on the Medway, also by Mr. Stanfield, is a charming specimen of our native scenery.

No. 29. Alee Mahommed Beg. S. A. HART.-An extremely effective portrait. It represents the individual who accompanied the horses sent as a present to the King by the Imaum of Muscat. Mr. Hart has a larger work of great merit also.

No. 160. The Highlands. E. LANDSEER, R. A.-This is a picture of firstrate excellence in the line of art to which it belongs. The animals are perfect, and the figures, though comparatively feeble, are executed with much delicacy of pencilling. The falconer is especially good.

No. 55. The Tower of the Giralda at Seville. D. ROBERTS.-Small, but extremely powerful.

No. 144. The Empress Josephine and the Fortune-teller. Sir D. WILKIE, R. A. -The high character of Wilkie as a painter is a sufficient guarantee for the excellence of all he exhibits. A detailed account of the numerous works he has in the present collection is therefore scarcely necessary. His Cottar's Saturday Night (No. 358), from Burn's celebrated poem, abounds in pictorial beauties; and if we have a preference for the subject firstnamed, it can be only on account of the

incident to which it relates, which is one of the most remarkable on record. It is, however, a very effective picture, and we may refer to it as an admirable specimen of the powers of the master.

No. 61. Brothers and Sisters, and No. 74, A Toy-seller. W. MULREADY, R.A.-This artist does not appear to advantage. His pictures are mannered, and though abundantly laboured, they are altogether wanting in originality and effect. So few as he exhibits, he ought to give the public no cause to complain of them upon the score of sameness. Surely he might give a little play to his imagination, and employ his talents on something rather more elevated than he has hitherto done.

No. 403. The Deluge. J. MARTIN.The sublimity of Mr. Martin's conceptions, render the productions of that gentleman always great favourites with the public; and his representation of the awful day "the day when the fountains of the great deep were broken up, and the windows of Heaven were opened," will, we doubt not, command much attention. It is a magnificent composition, and tends to confirm us in the high opinion we have always, in common with others, entertained of the master.

No. 479. Bohemian Gipsies. Dan. M'CLISE, A. R. A.-We have in this performance an astonishing display of academical science. It contains figures innumerable, which are thrown together in all sorts of attitudes. The sole of a peasant's foot is the most conspicuous object in the foreground, which is hardly in good taste, but there is much to admire in the work, and we only regret that the great talents of the artist have not been employed on a worthier subject. The picture is of the largest size, but seems to tell no story. He has, however, barely commenced his career, and we know of no one to whose case the words, which the academy have this year chosen for their motto, apply with so much aptitude as to that of Mr. M'Clise. They are these :-

"Impetus animi, cupiditas vincendi, ardor mentis ad gloriam in adolescentiâ, significant quæ virtutis maturitas, quantæ fruges industriæ sint futuræ."

If the fertility of his genius be only equal to the readiness of his hand, of which there is every indication, he is destined to assume a very high station in the world of art.

TURNER has several landscapes painted in that fine imaginative style which belongs so exclusively to himself. WARD is perhaps not quite so effective as usual, though, as an animal painter, we consider

him second to no artist of his day. The portraits by WILDMAN, (who paints in JACKSON'S manner), and EDDIS, are among

the best in the exhibition.

In the sculpture department, we would call attention to the admirable busts by Sir FRANCIS CHANTREY and Mr. BAILY.

STATUES.

A society has just been formed in Florence, which has for its object to erect twenty-five statues of the great men born in Tuscany. The first to be executed are those of Macchiavelli, Leonardo da Vinci, Andrea Cesalpini, Michel Angelo Buonarotti. The monthly subscription for the members is three Italian livres.

A beautiful monument to Casimir Perier, the late French minister, is in the course of erection in the cemetery of Pere la Chaise. A full-length statue of the deceased is to be placed on it, formed from an immense block of Carrara marble.

THE CITY WELLINGTON STATUE.

At a meeting of the committee at the Mansion House, on the 12th May, the Lord Mayor in the chair, it was resolved -1st, that the Statue should be an equestrian one of his Grace; 2d, That Sir Francis Chantrey, who intimated bis readiness to undertake the design for the amount subscribed, should be invited to send in models for the approbation of the committee. The only other artist proposed was Mr. Matthew Cotes Wyatt, the sculptor of the fine statue of George 1II. in Pall Mall East; when, on putting the question to the vote, it was carried in favour of Sir F. Chantrey; the votes being, for Sir Francis 15; for Mr. Wyatt 14.

PANORAMA OF DUBLIN.

Mr. Burford has opened a new Panoramic picture in Leicester Square. It is a distant view of Dublin; and to guard against disappointment, visitors must not go expecting to see the buildings of the city represented, except in a far distance.

The view is taken from Killeney, a hill of considerable height, about eight miles from Dublin, and commands a large portion of the county of Dublin, with a part of that of Wicklow. The beautiful country is depicted to reality; the valley studded with villas, Kingtown, the Hill of Howth, the Wicklow Mountains, Dublin bay, aud the sea; indeed, all the varieties of this splendid scene, are vividly represented.

The

THE DUCHESS DE BERRI'S PICTURES. by some of the pictures of the late ElyThe following are the prices produced sée Bourbon collection, in addition to those already given in p. 520. Two pictures, by Wouvermans, one 6,000fr, and the other 8,000f. Count Demidoff purchased two by Mieris for 7,600fr. Thatched Cottage, by Weenix, 4,950fr.; the Village Concert, by Teniers, 6,051tr. Portrait of a Woman, by Mieris, 5,000fr. ; Kermes, by Teniers, 7,860fr.; the Ball, by Pynacker, 5,100fr.; Sunshine, by Berghem, 5,020fr.; the Muleteer, by Karel Dujardin, 5,110fr.; the Falconer, by Wynants, 6,510fr.; the Inn-yard, by Isaac Ostade, 5,905fr.; the Stag at Bay, by Wouvermans, 5,000fr.; the Wateringplace for Cattle, by Paul Porter, 7,120fr.; the Port of Genoa, by Berghem, 13,200fr.

At the recent sale of the property of the Duke de Maille, at Paris, a small picture, covered with dust, was lying aside in a corner. It was not put up for sale, on account of an inscription on the frame," The gift of the King." A broker, however, advised the auctioneer to efface the words, and sell the picture. He did so; it was put up at 30fr, and knocked down at 53fr. to M. Cousin, a dealer in antiquities, Place de la Bourse. M. Cousin carried off his picture, and, after cleaning it, found it to be the head of St. John the Baptist. in his youth, by Raphael, from the cabinet of the King, of which that by Dusseldorf is but a copy. A connoisseur has already offered M. Cousin fifteen thousand francs for his

bargain, which he has refused.

Not very dissimilar is the history of a Magdalene, certainly very finely painted, and attributed by the owner to Corregio, which is now being exhibited at No. 49, Pall Mall. It was purchased last autumn, for a mere trifle, at the Auction Mart, so obscured with dirt, that its merits were completely hidden.

In the department of prints and engravings in the Royal Library, at Paris, there is an unique collection of all the catalogues of the exhibitions (59 in all) of works of art, since the reign of Louis 14th to the present time. The number of paintings exhibited on all these occasions amounted to 40,650.

LIGENCE.

New Works announced for Publication. Thoughts on the Religious State of the Country; with Reasons for preferring Episcopacy. By Rev. CALVIN COLTON.

Summary of Church History and Polity, chiefly from Mosheim and Hooker. By the Rev. J. B. SMITH, D.D.

The Trinities of the Ancients; the Mythology of the First Ages, and the Writings of the Pythagorean School examined, with reference to the Knowledge of the Trinity, ascribed to Plato and other ancient Philosophers. By ROBERT MUSHET, Esq.

The Hymns of the Primitive Church; now first collected, arranged, and translated. By the Rev. J. CHANDLER, Fellow of Corpus Christi College, Cambridge.

The Roman Catholic Chapel; or, Lindenhurst Parish. By ROSINA M. ZORNLIN.

A work on the Religious Meanings of Symbolical Colours in the Middle Ages.

Confirmation of Maria Monk's Disclosures concerning the Hotel Dieu Nunnery of Montreal. By the Rev. J. J. SLOCUM, of New York. 2nd edit.

Rosamond Culbertson; or a Narrative of the Captivity and Sufferings of an American Female, under the Popish Priests, on the Island of Cuba; with a full Disclosure of their Manners and Customs. With an Introduction and Notes, by S. B. SMITH, late a Priest in in the Church of Rome.

New and Conclusive Natural Demonstrations both of the fact and period of the Mosaic Deluge, and of its having been the only event of the kind that ever occurred upon the earth. By Mr. FAIR

HOLME.

Hymns for young persons, selected by Rev. R. HARVEY, Rector of Hornsey.

Temples, ancient and modern; or, Notes on Church Architecture. By W. BARDWELL, Architect.

Voyages up the Mediterranean and in the Indian Seas, with Memoirs. By the late W. ROBINSON.

A Dictionary of the Anglo-Saxon language, with explanations in English and Latin, and copious English and Latin Indexes; the Preface containing Essays on the origin and connexion of the Anglo. Saxon, and the other Germanic tongues. By the Rev. JOSEPH BOSWORTH, LL.D. F.R.S. and S. A.

The French Revolution, a History. By THOMAS Carlyle.

On the Civil War in Spain, and on the Policy of England. By VISCOUNT PALMERSTON.

Belgium, and France.
Horticultural Tour through Germany,
By Mr. FORBES,
Author of "The Gardens and Grounds
of Woburn Abbey."

An Historical Account of the University of Cambridge, and its Colleges. By B. D. WALSH, M. A. Fellow of Trinity College.

The 45th and concluding No. of Count de la Borde's Work on the National Monuments of France.

Finden's and Ryall's Portraits of the Female Aristocracy of Great Britain.

Jeannette Isabelle, a Novel. By the Author of Black Gowns and Red Coats.

ITALIAN LITERATURE.

Signor Mai continues his Collectio Vaticana Scriptorum Veterum, and has almost finished the printing of the Greek text of the Old and New Testament, after the celebrated manuscript of the Vatican. Padre Ungarelli, a learned Orientalist, has collected extensive materials for a publication explaining the hieroglyphics on the obelisks at Rome, according to the method of M. Champollion the younger; he is publishing the Coptic Grammar of M. Rosellini; and the first volume of his Literary History of the Barnabite Congregation has appeared, in which he gives some valuable notices concerning the writers who have made this learned body so illustrious. Padre Secchi has been long working at a Greek Grammar, on a new plan, and is also busy with the Etruscan and Phoenician languages. M. Sarti, Professor of the Greek language to the Roman University, has had the courage to read, copy, and illustrate, all the profane and Christian inscriptions, in Greek and Latin, which cover the walls of the Vatican Museum. The Abbé Lanci, Professor of Arabic, who has acquired a brilliant reputation in consequence of his illustrations of the monuments of Egypt and Phoenicia, and his work on the interpretation of some of the passages of Holy Writ, continues his biblical illustrations: and M. Sebastiani has given two new translations of the New Testament, in Latin and Persian, according to the Greek text.