variety and excellence of their works. To those who think that wherever genius is, it must, like fire blaze out, this argument is not addressed; but those who consider it not as a gift, but a power acquired by long labour and study, should reflect that no man is likely to undergo the fatigue required to carry any art to any degree of excellence, to which after he has done, the world is likely to pay no attention.

Sculpture languishes for the same reason, being not with us made subservient to our religion, as it is with the Roman Catholics. Almost the only demand for considerable works of sculpture arises from the monuments erected to eminent men. It is to be regretted that this circumstance does not produce such an advantage to the art as it might do, if, instead of Westminster Abbey, the custom were once begun of having monuments to departed worth erected in St. Paul's Cathedral. Westminster Abbey is already full; and if the House of Commons should vote another monument at the public expence, there is no place, no proper place certainly, in the Abbey, in which it can be placed. Those which have been lately erected, are so stuck up in odd holes and corners, that it begins to appear truly ridiculous: the principal places have been long occupied, and the difficulty of finding a new nook or corner every year increases. While this Gothic structure is encumbered and overloaded with ornaments which have no agreement or correspondence with the taste and style of the building, St. Paul's looks forlorn and desolate, or at least destitute of ornaments suited to the magnificence of the fabric. There are places designed by Sir Christopher Wren for monuments, which might become a noble ornament to the building, if properly adapted to their situations. Some parts might contain busts, some single figures,

some groups of figures, some bas-reliefs, and some tablets with inscriptions only, according to the expense intended by him who should cause the monument to be erected. All this might be done under the direction of the Royal Academy, who should determine the size of the figures, and where they should be placed, so as to be ornamental to the building.*

THE HAGUE.

PASSING by Dort, Rotterdam, and Delft, where we saw no pictures, we proceeded to the Hague. The principal collection here is in the gallery of the Prince of Orange, in which are many excellent pictures, principally of the Dutch school.

Gallery of the Prince of Orange.

WOUVERMANS.

Here are many of the best works of Wouvermans, whose pictures are well worthy the attention and close examination of a Painter. One of the most remarkable of them is known by the name of THE HAY CART: another in which there is a coach and horses, is equally excellent. There are three pictures hanging close together in his three different manners: his middle manner is by much the

* Our author considered the plan which he has here sketched, as likely to be extremely beneficial to the Arts, and was so desirous that it should be carried into execution, that after it had been determined to erect a monument to Dr. Johnson in Westminster Abbey, and a place had been assigned for that purpose, he exerted all his influence with his friends, to induce them to relinquish the scheme proposed, and to consent that the monument of that excellent man should be erected in St. Paul's; where it has since been placed. In conformity with these sentiments, our author was buried in that cathedral; in which, I trust, Monuments to him, and to his illustrious friend, Mr. Burke, will ere long be erected. M.

best; the first and last have not that liquid softness which characterises his best works. Beside his great skill in colouring, his horses are correctly drawn, very spirited, of a beautiful form, and always in unison with their ground. Upon the whole, he is one of the few painters, whose excellence in his way is such as leaves nothing to be wished for.

REMBRANDT.-A study of a Susanna, for the picture by Rembrandt, which is in my possession: it is nearly the same action, except that she is here sitting. This is the third study I have seen for this figure. I have one myself, and the third was in the possession of the late Mr. Blackwood. In the drawing which he made for this picture, which I have, she is likewise sitting; in the picture she is on her legs, but leaning forward. It appears very extraordinary that Rembrandt should have taken so much pains, and have made at last so very ugly and ill-favoured a figure; but his attention was principally directed to the colouring and effect, in which it must be acknowledged he has attained the highest degree of excellence.

MIERIS. A picture of Dutch gallantry, by Mieris; a man pinching the ear of a dog which lies on his mistress's lap.

RUBENS. Two portraits, Kitcat size, by Rubens, of his two wives; both fine portraits, but Eleanor Forman is by far the most beautiful, and the best coloured.

VANDYCK. A portrait by Vandyck of Simon the painter. This is one of the very few pictures that can be seen of Vandyck, which is in perfect preservation; and on examining it closely it appeared to me a perfect pattern of portrait-painting; every part is distinctly marked, but with the lightest hand, and

without destroying the breadth of light: the colouring is perfectly true to nature, though it has not the brilliant effect of sunshine, such as is seen in Rubens's wife it is nature seen by common daylight.

REMBRANDT.-A portrait of a young man by Rembrandt, dressed in a black cap and feathers, the upper part of the face overshadowed: for colouring and force nothing can exceed it.

HOLBEIN.

A portrait by Holbein; admirable for its truth and precision, and extremely well coloured. The blue flat ground which is behind the head gives a general effect of dryness to the picture: had the ground been varied, and made to harmonise more with the figure, this portrait might have stood in competition with the works of the best portrait painters. On it is written, "Henry Chessman, 1533." HENRY POTT.

A whole-length portrait of Charles the First, about a foot long, dressed in black, the crown and globe lying on the table, tolerably well painted by Henry Pott, a name I am unacquainted with: :- the date on it 1632.*

VANDERWERF.-The flight into Egypt, by Vanderwerf; one of his best: the back-ground is much cracked, an accident not unfrequent in his pictures.

TERBURG. - A conversation by Terburg, a woman sitting on the ground leaning her elbow on a man's knee, and resting her head on her hand.

TENIERS. A kitchen by Teniers.
OSTADE. - Two Ostades.

*Henry Pott, according to Descamps, was of Harlem, and drew portraits of the King and Queen of England, and of the principal nobility; but at what time is not specified. Lord Orford (ANECD. OF PAINT. iii. 293. 8vo.) suggests, that he probably drew Charles II. in his exile; but the date here given shows that he was in England in the early part of his father's reign.

VOL. II.

RUBENS. A landscape by Rubens; light and airy. It is engraved amongst the set of prints of Rubens's landscapes; it is that where two men are sawing the trunk of a tree.

VANDYCK.The Virgin and Christ, by Vandyck, coloured in the manner of Rubens; so much so, as to appear at first sight to be of his hand; but the character of the child shows it to be Vandyck's.

POUSSIN. - Venus asleep on the bank of a canal, her reflection seen in the water; a satyr drawing off the drapery; two Cupids: she is lying with her back up

wards.

POTTER.― Cattle, finely painted by Potter, remarkable for the strong reflection of one of them in the water dated 1648.

Brueghel. Two pictures of flowers and fruits with animals by Brueghel; one serves for a border to a bad portrait; the other to a picture of Rothenamer: the frames are much better than the pictures.

HOOGEST.-The inside of Delft church by Hoogest, in which is represented the tomb of William Prince of Orange; it is painted in the manner of Dewit, but I think better: dated 1651.

DE HEEM.

Fruit by De Heem; done with the utmost perfection.

VANDYCK. - A portrait of a lady, with a feather in her hand, by Vandyck; of which there is a print.

GERARD Dow..

A woman with a candle, by Ge

rard Dow: engraved by Captain Baillie.

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METZU. — A woman writing, looking up and speaking to another person, by Metzu.

JAN STEEN. Here are many of Jan Steen, excellently well painted, but I think they have less character and expression than is usual in his pictures.

There are some large pictures which take up too