of the country for these purposes,-their most effectual and economical application, the inclination to be given to the different parts, and the other practical precautions to be adopted, to prevent snow and rain penetrating into the building. "N.B.-Each Essay to be written in a clear and distinct hand, on alternate pages, and to be distinguished by a Mark, or Motto, without any name attached thereto. "SOANE MEDALLION. "Resolved, That the Soane Medallion be awarded to the best Design for a Building to serve as a National Repository and Museum for the illustration and exhibition of the productions of the Industrial Arts, with all suitable accessories, and accommodation for the delivery of Lectures, and for the purposes of chemical and other experiments. The Theory of Painting; DEDUCED FROM THE "DISCOURSES" OF SIR JOSHUA REYNOLDS. (Continued from page 143.) To the principle I have laid down, that the idea of beauty in each species of beings is an invariable one, it may be objected, that in every particular species there are various central forms, which are separate and distinct from each other, and yet are undeniably beautiful-that in the human figure, for instance, the beauty of Hercules is one, of the Gladiator another, of the Apollo another, which makes so many different ideas of beauty. It is true, indeed, that these figures are "The successful Competitor, if he go abroad, each perfect in their kind, though of different will be entitled to the sum of £50 at the end of characters and proportions; but still none of one year's absence, on sending a satisfactory them is the representation of an individual, ¦ evidence of his progress and his studies. but of a class. And as there is one general "N.B.-The competition for the Soane Me- form, which, as I have said, belongs to the dallion is open to all Members of the Profes-human kind at large, so in each of these sion under the age of twenty-five years. "Each Essay and set of Drawings is to be delivered at the Rooms of the Institute, on or before the 31st of December, 1848, by Twelve o'clock at noon. ON THE USE OF Oxide of ZINC, OR ZINC WHITE, IN PAINTING.-M. V. Dumas, President of the Academy of Arts and Sciences, of Dijon, claims for M. de Guyton Morveau, the discovery of the application of oxide of zinc to painting, as far back as the year 1782. The Royal Academy of Architecture, of Paris, appointed a commission in 1786 who made a favourable report on its employment. "We are indebted," said the commission, "to the zeal and enlightened views of M. de Guyton Morveau, for the numerous and repeated experiments which have been made on the zinc white. From these experiments it is evident that the zinc white possesses two most important advantages over white lead; the first is, that its use is not at all injurious to health; the second is, that it retains its freshness and whiteness without being, like white lead, affected by sulphurous vapours, and covers at least one-third more of surface.' "The only thing," says M. Dumas, "which astonishes me is, that its application to the painting of apartments has not been continued and extended. This, in my opinion, has been owing to the high price of the metal, which has prevented the zinc white from entering into mercantile competition with white lead." As much attention has of late been called to this subject, the Academy of Dijon is prosecuting some experiments, the results of which is promised to be shortly communicated to the Academy. FREE EXHIBITION OF ART MANUFACTURES. This exhibition will remain open until the 29th of this month (April). classes there is one common ideal and central form, which is the abstract of the various individual forms belonging to that class Thus, though the forms of childhood and age differ exceedingly, there is a common form in childhood, and a common form in age, which is the more perfect, as it is more remote But I must add from all peculiarities. further, that though the most perfect forms of each of the general divisions of the human figure are ideal, and superior to any individual form of that class, yet the highest perfection of the human figure is not to be found in any one of them. It is not in the Hercules, not in the Gladiator, nor in the Apollo, but in that form which is taken from all, and which partakes equally of the activity of the Gladiator, of the delicacy of the Apollo, and of the muscular strength of the Hercules. For perfect beauty in any species must combine all the characters which are beautiful in that species. It cannot consist in any one to the exclusion of the rest: no one, therefore, must be predominant, that no one may be deficient. The knowledge of these different characters, and the power of separating and distinguishing who is to vary his compositions with figures of them, is undoubtedly necessary to the painter various forms and proportions, though he is never to lose sight of the general idea of perfection in each kind. There is, likewise, a kind of symmetry, or proportion, which may properly be said to belong to deformity. A figure lean or corpulent, tall or short, though deviating from beauty, may still have a certain union of the various parts, which may contribute to make them on the whole not unpleasing. When the artist has by diligent attention acquired a clear and distinct idea of beauty and symmetry-when he has reduced the variety of nature to the abstract idea, his next task will be to become acquainted with the genuine habits of nature, as distinguished from those of fashion. For in the same manner, and on the same principles, as he has acquired the knowledge of the real forms of nature, distinct from accidental deformity, he must endeavour to separate simple chaste nature from those adventitious, those affected and forced airs or actions, with which she is loaded by modern education. Perhaps I cannot better explain what I mean, than reminding you of what was taught us by the Professor of Anatomy, in respect to the natural position and movement of the feet. He observed, that the fashion of turning them outwards was contrary to the intent of nature, as may be seen from the structure of the bones, and from the weakness that proceeded from that manner of standing. To this we may add the erect position of the head, the projection of the chest, the walking with straight knees, and many such actions, which we know to be merely the result of fashion, and what nature never warranted, as are sure that we have been taught them from children. I have mentioned but a few of those instances in which vanity or caprice has contrived to distort and disfigure the human form; your own recollection will add to these a thousand more of ill-understood methods, which have been practised to disguise nature among our dancing-masters, hair-dressers, and tailors, in their various schools of deformity.* those local prejudices, who has not chastised his mind and regulated the instability of his affections by the eternal invariable idea of nature. Here, then, as before, we must have recourse to the ancients as instructors. It is from a careful study of their works that you will be enabled to attain to the real simplicity of nature; they will suggest many observations which would probably escape you, if your study were confined to nature alone. And, indeed, I cannot help suspecting, that in this instance the ancients had an easier task than the moderns. They had, probably, little or nothing to unlearn, as their manners were nearly approaching to this desirable simplicity; while the modern artist, before he can see the truth of things, is obliged to remove a veil, with which the fashion of the times has thought proper to cover her. Having gone thus far in our investigation of the great style in painting-if we now should suppose that the artist has found the true idea of beauty, which enables him to give his works a correct and perfect design-if we should suppose, also, that he has acquired a knowledge of the unadulterated habits of nature, which gives him simplicity-the rest of his task is perhaps less than is generally imagined. Beauty and simplicity have so great a share in the composition of a great style, that he who has acquired them has little else to learn. It must not, indeed, be forgotten, that there is a nobleness However the mechanical and ornamental of conception, which goes beyond anything in arts may sacrifice to fashion, she must be en- the mere exhibition even of perfect form; tirely excluded from the art of painting; the there is an art of animating and dignifying painter must never mistake this capricious the figures with intellectual grandeur, of changeling for the genuine offspring of nature; impressing the appearance of philosophic he must divest himself of all prejudices in wisdom or heroic virtue. This can only be favour of his age or country; he must dis-acquired by him who enlarges the sphere of regard all local and temporary ornaments, and his understanding by a variety of knowledge, look only on those general habits which are and warms his imagination with the best everywhere and always the same; he addresses productions of ancient and modern poetry. his works to the people of every country and A hand thus exercised, and a mind thus every age, he calls upon posterity to be his instructed, will bring the art to a higher despectators, and says with Zeuxis, in æternitatem gree of excellence than perhaps it has hitherto pingo. attained in this country. Such a student will disdain the humbler walks of painting, which, however profitable, can never assure him a permanent reputation. He will leave the meaner artist servilely to suppose that those are the best pictures which are most likely to deceive the spectator. He will permit the lower painter, like the florist or collector of shells, to exhibit the minute discriminations which distinguish one object of the same species from another; while he, like the philosopher, will consider nature in the abstract, and represent in every one of his figures the character of its species. The neglect of separating modern fashions from the habits of nature, leads to that ridiculous style which has been practised by some painters, who have given to Grecian heroes the airs and graces practised in the court of Louis the Fourteenth; an absurdity almost as great as it would have been to have dressed them after the fashion of that court. To avoid this error, however, and to retain the true simplicity of nature, is a task more difficult than at first sight it may appear. The prejudices in favour of the fashions and customs that we have been used to, and which are justly called a second nature, make it too often difficult to distinguish that which is natural from that which is the result of education; they frequently even give a predilection in favour of the artificial mode; and almost every one is apt to be guided by (To be continued.) To CLEAN MARBLE, JASPER, PORPHYRY, &c.-Mix up a quantity of the strongest soap-lees with quick lime, to the consistence of milk, and lay it on the stone, &c., for "Those," says Quintilian," who are taken with the out- twenty-four hours, clean it afterwards, and it ward show of things, think that there is more beauty in per-will appear as new. This may be improved nature ean give; as if beauty were merely the effect of the by rubbing or polishing it afterwards with fine putty powder and olive oil. sons who are trimmed, curled, and painted, than uncorrupt corruption of manners." R. Biography. GEORGE BIRKBECK, M.D. reflections on this interesting subject was soon matured, and in the month of March, 1800, he communicated his benevolent scheme to the trustees of the Andersonian Institution, in the hope of obtaining their concurrence; but here he was doomed to disappointment-his plan GEORGE BIRKBECK was born on the 10th of being considered-as are generally most plans January, 1776, at Settle, in Yorkshire, where promulgated for the benefit of our fellow crea his father was an eminent banker and mer-tures-visionary and impracticable. Nothing chant. At an early age, he discovered a de- daunted, however, by the cold reception of his cided predeliction for mechanical pursuits, as project in this quarter, upon his return to his well as those of a scientific and philosophical native place, at the close of the session, he description, which latter, no doubt, led to his issued a prospectus of the different courses of selection of the medical profession for his future career. Passing over some extraordinary exhibitions of talent on his part, when but a mere student, we turn to that glorious epoch in his life, when, prompted by the purest spirit of philantrophy, he conceived the idea of communicating the light of science to the untutored mind of the humble and laborious artisan by the establishment of Mechanics' Institutions. lectures to be delivered during the ensuing ses sion; and his favourite plan of establishing a "Mechanics' Class" still predominating in his mind, he added an able explanation of the means by which this could be effected. A printed invitation was circulated among the Glasgow manufactories as soon as the usual business of the next session was commenced, containing an offer of tickets for the admission of the most intelligent operatives in each manufactory into the mechanics' class. In reply to this, a few lists of applicants for admission were received, and the promised tickets having been issued, Dr. Birkbeck delivered the first lecture of his course on the mechanical affec tions of solid and fluid bodies to a class of 75 pupils. So powerful was the impression made upon this limited audience by the lecturer's instructions, and so rapidly was this impression communicated to other workmen, that the next lecture was attended by 200; at the third, the number was augmented to upwards of 300; and at the fourth, at least 500 were present. There is something peculiarly interesting to the reflective mind in the circumstances which gave rise to the formation and accomplishment of a plan so obviously calculated to confer upon society advantages, of which the extent and importance cannot even as yet be adequately appreciated. Having been appointed Professor of Natural Philosophy to the Andersonian Institution at Glasgow, he required, in order to illustrate a course of lectures, many pieces of apparatus to be prepared which the institution did not possess; and as no philosophical instrument maker competent to the task, was at that time resident in Glasgow, the lecturer was Dr. Birkbeck continued these lectures during himself obliged to have recourse to such work- the two succeeding sessions; the mechanics shops as appeared best adapted to his wishes, evincing throughout the same unmixed feel and to superintend in person the manufacture ings of approbation and gratitude; and in the of the requisite apparatus. By this means he summer of the year 1804, circumstances was brought into immediate communication induced him to relinquish the office of Profes with the operative artisans of Glasgow, and sor in the Andersonian Institution, in which during this intercourse, his acute penetration situation he was succeeded by Dr. Úre. discovered such evident indications of latent genius in the minds of the workmen, accompanied by a kind of intuitive anxiety for the acquisition of knowledge, that the spontaneous feeling of regret, excited by their want of scientific information, was instantly succeeded by a benevolent wish that the means of obtaining this information could be placed within their reach. as In the May of the following year, the Doctor was married to Miss Catherine Lloyd, youngest daughter of Sampson Lloyd, Esq., of Farm, near Birmingham. He afterwards passed a few weeks in travelling, and, according to his original intention, he then came to London, where he established himself as a physician; and from his extensive connections, and the unlimited confidence reposed in his medical Among the various pieces of apparatus thus his constructed under the personal direction of prospects of an honourable independence, the Doctor, was a model of the centrifugal pump, the merited reward of his labours, were in the and it was in the cellar of the tinman's shop, highest degree flattering; when, however, the where this model was completed,-when sur- untimely decease of his domestic partner rounded by the workmen who had constructed plunged him into the greatest mental distress; it unconscious of its use, or the principle upon but by a persevering attention to the important which it acted;-when contemplating the duties of his profession, his mind gradually repowerful expression of intelligent curiosity de- sumed its serenity, and for several picted in their looks, and replying to the wards, he continued to advance rapidly towards numerous inquiries suggested by the novel the highest degree of eminence as a construction of the apparatus;-it was in this Dr. Birkbeck entered a second time into the first darted across his mind, of delivering a to Miss Anna Margaret Gardner, youngest place, and at this moment, that the thought married state in July, 1817, when he was united course of gratuitous lectures for the scientific daughter of Henry Gardner, Esq., of Liver In the midst of his successful professional The plan which resulted from the Doctor's career, Dr. Birkbeck still retained his attach instruction of the humble and unenlightened pool. operative mechanics of Glasgow. years after physician |