66 the State of the Arts, Criticism, Patronage, and Public Taste." By MARTIN ARCHER SHEE, R. A. The beauty, polish, and energy, of Mr. Shee's muse, already so well known to the public, by his former poems, modestly called Rhymes on Art," is here exerted con amore in a heavenly cause. The notes which accompany the verses, are rigorous, original, and, in some places, most piquantly seasoned with the true salt of satire, delicately tempered with good humour and gentlemanly language. Though occasionally severe, be never degenerates into vulgarity or abuse. We shall present our readers with the following analysis of his poem. After a preface of considerable humour and vivacity, in which he has considered the present state of the Fine Arts, Criticism, Patronage, and Public Taste, which subjects, he has discussed more at large in his notes; he modestly acknowledges, that "though not a regular trader, he hopes he will not be found to have gone much out of his course; and in taking leave of a service, in which he is conscious he must appear as "A lounging landsman, awkward at the oar," be shall think himself fortunate if his goods be not condemned as contraband of taste, and his owners should be no Josers by their speculation."-To continue the simile, Mr. Shee has not only proved himself to be a fair trader, but has furnished his customers with excellent goods, and his lading corresponds honestly with his invoice and former samples. The first canto commences with an allu sion to his former publication;-an invocation to Taste, as the presiding power that directs the operation of the poet and the painter;-contrarieties of taste; -the student cautioned to beware of the opinions of those who recommend extremes of art, and such like important didactics. The second canto enumerates the subservient studies necessary to the formation of a painter;-the comprehensive character of painting, as in. cluding and commanding all the departments of taste;-origin of Grecian elegance in sculpture ;-description of their most beautiful statues;-address to the spirit of ancient Greece, &c. &c. The third canto is appropriated to the student's review of his progress;-cautioned not to be too sanguine, or to presume too much on premature talents;-some excellent exhortations; the history of the different schools, and character of their greatest supporters. The fourth canto recom mends the student to visit the schools of Italy;-alludes to a few of the old masters who were most conspicuous for their general knowledge, and to Sir Joshua Reynolds, as a more modern illustration of the advantages of a highly-cultivated mind in an artist;-and, a pathetic allusion to his loss of sight and death. The fifth canto refers to the discourses of Reynolds, and the lectures of Fuseli and Opie;-points out some of those defects in painting, which operate to countenance the critic, in his contempt for modern art; satirises the triflers in taste:affectation of travelled artists;—the process hunters of the palette;-enumerates and cautions the student to avoid extremes, and other faults. In the sixth and last canto, he acknowledges the difficulty of avoiding extremes in art;-advantages resulting from the candid opi nion of friends, and even the severity of foes;-weakness of allowing ourselves to be irritated by the malevolence of criticism;-apostrophises public judgment as the final and impartial tribunal of taste;the student counselled to beware of aiming at premature reputation;-warned not to disgrace the character of an artist the various glories of Britain, ber sages, by the low passions of envy;-alludes to heroes, and bards;-expresses his hope that Britain will not allow herself to be arts, &c. &c. This analysis is not a surpassed in the pacific glories of the tithe of the important subjects treated in this poem, they are selected at random and intended to exhibit a sketch of some of the principal features. The following style and powers of versification of extracts are given, as specimens of the "This truant from the pencil to the pen." Of his didactic style, this is a faint specimen, in which the poet recommends the pencil and the portcrayon as correctives of each other: "Ply then, the bright portcrayon, till you The study of Architecture, so much neglected as a study accessary to painting, here finds an able advocate in its application to painting, and utility as a source of dignified and appropriate orna ment. "Nor deems the Muse mispent the stu- Devoted to her stately sister's power: And o'er the back ground's gorgeous stores When Taste unfolds the landscape, by her The temple dignifies the rural shade; Athens new glories from her hand derives, And heroes 'neath triumphant arches ride. The address to the Spirit of ancient Greece, with which the second canto finishes, expressive of the advantages which the modern world has derived from her genius, illustrative of the lessons which we have drawn from her wisdom; the refinement we owe to her taste, and the examples which she has left us in her virtues, is one of the finest specimens of the sublime in modern poetry; the whole is too long for insertion; but the apostrophe at the commencement contains such a true picture of this majestic spirit that it needs no apology for detaching it from its parent stock. "Hail, awful shade! that o'er the mould 'ring urn Of thy departed greatness lov'st to mourn; furl'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." We are sorry that our limits oblige us to close this interesting book: we shall however make one more extract, of the character of Raphael, from the list of the worthies of the Roman school. "Swift as the comet cleaves the etherial way, As bright his lustre, and as brief his day, Monarch of art! in whose august domains, Simplicity prevails without pretence, Before his age he sprang to painting's prime, 'Twas his to choose the nobler end of Art, And stamp with Taste the sterling ore of Canto 3, v. 169 to 196 In short, we know not which to commend, the ease and flow of his versification, the satirical vein of pleasantry with which he has lashed some of the most prevalent vices of art, or the depth, learning, and penetration, of the notes. It is a book that no painter should be, and no man of taste would be, without. In a Arches, and their Abutment Piers, con"Treatise of the Properties of taining Propositions for describing Geodosses of all Curves, so that their several metrically the Catenaria, and the ExtraParts and their Piers may equilibrate; Buttresses of Cathedrals," by SAMUEL also concerning Bridges, and the Flying WARE, Architect, we find much infor subject with considerable penetration, mation. Mr. Ware has investigated the of civil architecture. He has very proand ably discussed this important branch perly commenced with a table of introductory definitions and remarks, illus has rendered his book self-interpreting, trated by plates, by which method he and prevents any misunderstanding of trations of the positions he has taken, technical terms. He has added, as illusof Trinity Church, Ely; King's College and which he ably supports, sections Chapel, Cambridge; Westminster Abbey; Salisbury, Ely, Lincoln, York, and pal novelty in this work is a discovery of Peterborough Cathedrals. The princisome importance; a simple mode of describing the catenaria geometrically; which difficulty Mr. Ware has surmounted, after after much thought and labour, and at a considerable expense of time. The proposition cannot be described without an engraving; we therefore refer our readers to the work, which receives much ad. ditional value from the reference to existing buildings, which is a plain and effectual mode of establishing the truth of what he has advanced. It forms a considerable addition to our stock of mathematical knowledge, and forms an excellent practical work for the architect and civil engineer. We gladly perceive the "ARTIST" renewing his labours; the 1st part of the new series has just made its appearance, consisting of seven numbers. In which form (3 parts) it will be this year published, instead of its former, 21 numbers. Its design and tendency is best explained by its title, "The Artist, a Series of Essays on Science and Art. Written by Men of eminent professional Abilities, on Topics relative to their respective Studies, and by other Persons peculiarly conversant with those Subjects." Edited by PRINCE HOARE. In the introductory numbers, he informs his reader" that of the little circle which originally composed his corps," (himself, Messrs. Northcote, Hoppner, Cumberland, Cavallo, West, Shee, Boaden, Hope, Flaxman, Carlisle, Pye, Soane, Holcroft, Opie, Mrs. Inchbald, and Dr. Jenner;) "and in the short space of time that has been passed since he first appeared before you, two of those (the ingenious and much lamented Opie, and the no less regretted Holcroft,) who were either most immediately active, or most deeply interested in his progress, have been taken away by the dispensation of Providence." The contributors to this part are, first, the Editor on the various offices of painting, which he defines as follows: 1st. The Representation of Nature, or of obvious visible Forms. 2d. The Expression of the IIabits and Affections of the Mind. 3d. The Exhibition of Historical Events by the Representation of Facts. 4th. A mixed Representation of History, either by circumstances or fiction. 5th. The Expression of Poetic Imagery. The four first of these he has discussed with much ability in the present part, and promises the fifth office of painting in the expression of poetical imagery, shall be considered in a future-number. The second number is filled with a pleasantly humourous account of the origin of the Fine Arts, by Mr. Cumber land, who ridicules the fondness for dirty Slighted Beauty", we are informed "she is not yet quite dead, and therefore may be recovered and restored to her friends." The fictitious narrator says, "I have therefore related her case in the manner of a narrative, from the time of her birth, to the moment I was sitting by her bed-side, where she was confined by a sad cold, caught, I believe, by wearing wet shoes" The narrative is divided into a sort of chapters, or paragraphs, headed as follows: 1st. Of the Education and personal Perfections of our Heroine; and the be came the adopted Daughter of a Savereign Prince. 2d. How our Heroine grew tired of her Father's Court, and how she set out on her Travels to see the World. Sd. How 4th. How the Beauty contrived her Travels, and how the Author cannot tell whither, but supposes it was to England; and of the strange Adventures she met with there which are related in an admirable strain of burlesque pomposity, and will be continued in the next part; which, from the entertainment and substantial information contained in the present, and former series, we anxiously await. The next work that we shall notice, is An Historical Survey of the Ecclesiastical Antiquities of France, with a View to illustrate the Rise and Progress of the Gothic Architecture of Europe." By the late Rev. G. D. WHITTINGTON, of St. John's College, Cambridge. The premature death of the very young author of this work (before he had completed his 26th year) is one of those affecting circumstances, that happen occasionally in the circle of almost every 'one's acquaintance; and is feelingly lamented by his noble editor (the Earl of Aberdeen), in a well-written preface. From this it appears, that the Gothic edifices of France had been his peculiar study, in the course of an extensive jour ney in that empire, made in the years 1802 and 1803, with his noble friend; during which he examined with minute attention the chief remains of early Christian buildings in those countries. He appears to have cultivated a knowledge of this style of architecture, previous to his leaving England, and to have taken much pains in the arrangement and digestion of his materials. His first project for this work was to have been divided into three parts, of which he lived to finish but two, which form the bulk of the present volume. He combats the peculiarities of Walpole's opinion of the origin of Gothic architecture with much success; and differs so completely in his opinions, of the original country of this species of architecture, with that able antiquary, Britton, in his nomenclature of English architecture, and so pointedly alludes to what he conceives to be his errors therein, that we shall extract the passage, hoping that it may attract the attention of some able judges to ascertain the facts, and settle the point now at issue between Messrs. Britton and MONTHLY MAG, No. 187. Whittington. He says, after describing the cathedral at Amiens, the magnificent windows of which were projected and begun 1220, "I think we must be brought to this inevitable conclusion, that the French had advanced from the original simplicity of this Gothic style to the succeeding richness, at a time when the former alone was known in this country. "I have been induced to enter more largely into this subject, as I perceive a disposition among antiquaries to consider the question, concerning the origin of the Gothic style, as already nearly settled, which I am fully convinced is by no means the case." The work certainly opens a new field of observation to the admirers of Gothic architecture; is written in an easy, unaffected style; is full of able research; and exhibits marks of profound thinking, however it may militate against received opinions of English antiquaries. The frontispiece (the cathedral of Rheims) is elegantly engraved by Le Keux, in a correct, clear, and good style. The works of the celebrated historical painter, Barry; Hayley's Life of Romney; and Mr. Salt's Views, to accompany Lord Valentia's Travels-from their very recent appearance, and importance of their contents, are postponed to our next half-yearly Retrospect. MILITARY, MATHEMATICAL SCIENCE, &C. This country is remarkably deficient in military literature. There are but few books on the subject of war taken up in a scientific way, and still fewer that can be depended on. Hence our best officers have recourse to Polybius, and Cæsar's Commentaries. These, notwithstanding the lapse of so many centuries, afford information that is deemed of great importance to them in their profession. We are acquaintedwith officers who for half a century have served their country in all quarters of the globe, with distinguished reputation, and who have declared that the anthers just cited, were ever their companions in the sieges which they undertook or sustained, and in the battles which they fought and won.Without invalidating the authority of ancient historians and military commanders, we may recommend to our reader's notice "Essays on the Theory and Practice of the Art of War, including the Duties of Officers on Actual Service, and the Principles of Modern Tactics," in 3 vols. 8vo. by the Editor of the Military Mentor. These Essays are chiefly translated 4S from from the French and German writers, and will be found extremely useful to the military student, who is desirous of an ample acquaintance with the science in which he has embarked. Many of the descriptions are highly interesting to general readers, who aim at possessing that kind of knowledge, which will enable them to follow, in their closet, the contending European armies, in this most important epoch of our history. In proof of this assertion, we might refer to very many parts of these volumes. But we prefer giving a sketch of the Essay founded on this Enquiry:-"Should generals in chief be young men?" In favour of the affirmative side of the question, we are referred to the supposition, that bodily strength constitutes the most indispensable quality of a warrior: and to history, for a variety of striking examples, in which the most brilliant exploits have been performed in early life. "Alexander was not thirty years old, when he conquered half the globe, known in his time; the conqueror of Carthage had not completed his twentyfourth year; the great Condé was still younger, when he obtained the most glorious of his victories; and in our own time, we have seen very young generals defeat the most celebrated warriors in Europe. We have seen our countryman, General Wolfe, storm the heights of Quebec, and fall gloriously in the midst of victory." Enumerating many other circumstances in behalf of this opinion, the author adds: "Occurrences no doubt may happen, where the example of the commanding general proves decisive; but these are few, and to set the example in such cases is by no means an exclusive privilege of youth. The author next proceeds to point out the qualifications of a great general, and concludes, that in almost all cases, aged and experienced officers, and not young men, should be placed at the head of an army. Another military work lately published, is entitled, "Construction of several Systems of Fortifications, for the Use of the Royal Military Academy," by J. LANDMANN, Professor of Fortifications and Artillery, with 26 folio plates in a separate volume. This work is drawn up chiefly from Vauban and others, whose systems are given with sufficient accuracy in the plates, and which are pretty fully explained in the corresponding let tor-press, The talents of the professor are well known, and the situation which he fills may lead us to expect from him hereafter a more general treatise on this subject, which we shall be happy to introduce to the notice of our readers. "Mathematics simplified and practically illustrated, by the Adoption of principal Problems to the ordinary Purposes of Life," &c. &c. by Captain THOMAS WILLIAMSON. This is a fascinating title; but, as we have long since learned that there is no royal road to geometry," we suspected that more was promised in the title-page, of which we have copied only a part, than the perusal of the volume would justify. Our expectations were of course very moderate, yet these have been grievously disappointed. The author has been led into sad mistakes, which shew that he is ill qualified to instruct young persons in mathematics. We do not object to any laudable attempt to simplify the principles of science; but those who make the experi ment should take care that they strictly adhere to the truth; that, under the pretence of making a subject easy, they do not, in fact, abandon their pupils to error. We suspect Captain Williamson has not been of late in the habit of recalling his own mathematical knowledge, for we would impute some gross slips to forgetfulness, rather than to ignorance.The plates, if such they can be called, are wretched scrawls, that would disgrace the school-boy of the very lowest form. "Problems in some of the higher Branches of Algebra," These are not intended for novices in the analytical art: they require a considerable share of knowledge in order to appreciate their value and importance. They have unquestionably afforded amusement to the author, and will probably excite the industry and ingenuity of those readers who are desirous of following him in the track which he has beaten out for himself. "A Grammar of Geometry; containing an easy Exhibition of the Practice of that Art; serving as an Introduction to Euclid, and to the practical Mathematics," by J. SMITH, L. L.D. The Introduction to this little work contains an account of the uses of a common case of mathematical instru ments, by the help of which, and Dr. Smith's Grammar, he may be initiated into the elementary principles of practi cal geometry. The student," says the Doctor, |