PUBLIC EMBLEMS. How long the Peace might last, you'll own, To the Editor-PULTENHAM, in his Arte of English Poesie, quotes some one of a reasonabele good fucilitie in translation, who, finding certaine of Anacreon's odes very well translated, by Ronsard, the French poet," translates the same out of the French into English. 66 FINE ARTS. The triumphs of a nation, whether by land or sea, though of extensive and vital importance for a time, yet unless they are commemorated by national gratitude, and durable memoranda, they gradually slide, out of the memory, and give place to events of the moment. The arts counteract this lapse: they furnish monuments never to be surveyed without a powerful recol. lection, and patriotic feelings. It is not with a lining of old tapestry, that the House of Lords is decorated; it is with memorials of the defeat of the Spanish Armada; a discomfited attempt at over In "the Faradise of daintie Devices," fol. 63, " imprinted atte ye sign of ye hedg-turning the English throne. hogg," 1554, is the following ode, translated, as is there avowed, "ovt of a moste dellicat and daintie uercyon in ye French tong of M. Ronsard, by Richard Edwardes," who is the author of a very elegant poem, yn commendacyon of Mrsycke," inserted in the same work, fol. 31. If this, "Richard Edwardes," is not the author quoted by Puttenham, I am unable to discover who is. Both the French and the English versions are extremely elegant for the age that produced them, and are well deserving of a place in your widely circulated work. ANTIQUARIUS. ANACREON. ODE 19me. La terre, les eavx ua boiuant; Tovt boit, soit en havt ov en bas Povrqvoy donc ne boirons novs, pas? RONSARD. The same remark applies to varions parts of the Continent: the influence of many victories won by Venice or by Genoa, of sundry preservations and interference of saints at Rome, has ceased for ages; but the works of Titian and Tintoretto, of Raffaelle, and Michael Angelo remain, and are admired. Amidst all the vicissitudes of the states which they adorn, and even their extinction, these performances experience no change, but still command regard as capital instances of art. True it is, that the arts delight in peace; and peace is also our dear delight; yet even war may be rendered advantageous in some respects to art, of which the following notice is a proof. BRITISH INSTITUTION FOR PROMOTING THE FINE ARTS IN THE UNITED KINGDOM. "THE DIRECTORS of the BRITISH INSTI TUTION give notice, that, instead of any particular Premiums for History or Landscape Painting, in the ensuing year, they have set apart One Thousand Guineas, to be applied at their direction, in giving Premiums for finished Sketches, illustrative of, or connected with, the Successes of the British Army in Spain, Portugal, and France, such Sketches to be painted in Oil, in the course of the present year, 1815, by Artists of the United Kingdom, to be of the size (including the frames) of three feet in height, by four feetsix inches wide, and to be sent to the And ye svnne drinkes ye miste, ye blew bil-British Gallery on such day or days in Ja Drie erth drinkes ye dew droppe ye moonbeautys shedde, And ye tree-rote ymbibeth yttes colde erthie bedde Ye salte waue of Ocean doeth drinke ye fleet gale; lowes exhaile. Ye moon's palie hornys drinke vppe'ye svunebeame. Al drinkes. Yn ye heights and ye depth 'tis ye same. 'Tis ye law of ye vniuers generalie, nuary next, 1816, as shall be fixed by the Directors for the admission of Pictures to the Exhibition. The Directors reserve to themselves the power, not only of adjudg ing the respective merits of such Sketches, and the amount of the Premiums, but also of deciding, in like manner as in case of Sith al natvre than drinketh-O ! why should other Pictures sent to the Exhibition, how not wee? RICHARD EDWARDES. far any of them may, or may not, be intitled to admission into the Gallery. Any Pictures or finished Sketches, on the above subject, that vary from the prescribed size, may be received, but will not be considered as offered in competion for the Premiums. British Gallery March 6, 1815." curious, or of delighting the judicious; they hope that such productions may excite in the British Artist the ardour of emulation. They offer them to him, not that he may copy, but that he may study them. They wish him to catch the spirit, rather than to trace the lines; and to set his mind, rather than his hands, to work upon this occasion. They are fully aware how difficult is the task of those, who attempt to lay down precise rules for the guidance of the Artist: they know how uncertain are the steps by which the human mind is led to the attainment of knowledge of any kind, and that excellence in the Art of Painting is not of easy acquirement; that very much depends upon the Artist himself, and comparatively very little upon those who en The British Institution has further been the means of affording the public an oppor tunity of judging of the merit of the different sketches in sculpture, proposed for the monument directed by parliament to be erected to the memory of Geuerat Ross, killed near Baltimore, in North America, and other national works of like import. We conceive, that it would be useful if the catalogue recorded these; the list might be valuable years afterwards; and the similarity, or diversity of thoughts and conceptions could not fail of benefiting as well artists and patrons, on occasions of subse-deavour to assist him; that skill is the requent reference. The explanations given of them, with the inventions of the artists, &c. &c. deserves this preservation. compence of patience, of attention, and of labour, rather than the work of instruction; and that even the greatest facilities which The exhibition of works of British artists, can be given may produce carelessness and in this Institution, has closed: it were neglect, while difficulties and obstructions therefore, labour lost to introduce critical may excite industry, and lead to the atremarks on particular subjects. It is sufamment of perfection; but though they ficient to say, that it was respectable on do not attempt to prescribe rules, they may To a superficial obthe whole; and that considered as the guard against errors. works of rising artists chiefly; it augured server, many of the great works before us well for the future. The gallery has sub- may seem the result of genius without the No opinion can be more falsequently been opened with a collection of aid of study. works, principally from the Flemish and lacious; and to the Artist, no mistake more Geurus and faucy, it is true, give Dutch schools. We say principally, be- fatal. cause we hardly know how to reckon the magical charm to the productions of Vandyke other than an Englishman: here Art; but those who think that genius and he found employment: here he produced fandy will supply the place of care, of athis best works; here he lived; and here teution, and of industry, mistake the he died. To the catalogue is prefixed the course they have to pursue. They try by following PREFACE:--a short road to arrive at perfection, and never approach it; while those who travel "To gratify the public taste, and to animate the British artist to exertion, the Di-diligently, and toil on the way, will prorectors of this Institution have, in former years, selected some of the best productions of the British School; they now, with the same view, offer some of the most admired works of the Dutch and Flemish Schools, to the inspection and observation of the public; and they take this opportunity of acknowledging the readiness and liberality with which the possessors of these beautiful Specimens of Art, have lent them for the purpose of this exhibition. Whatever difference of opinion may exist, s to the best mode of directing the studies of youth to the attainment of a cellence, all seem to agree that EXA is the most animating principle which influences their conduct. The Directors of the Institution, therefore, in submitting this collection to the public, do not present it merely for the purpose of amusing the bably arrive successfully at the end of their journey. Rubens would not have produced the works before us, without genius; but he did not throw away rule aud authority, until he had established himself upon their basis, nor until he had by practice and experience, obtained the just claim to pur sue unrestrained his brilliant and successful career. In presenting this collection to the public, it is to the works of Rubens, of Vandyke, and of Rembrandt, that the Directors desire particularly to call the general attention. Each of these Masters has his peculiar merit: and from each may be derived abundant sources both of study and delight. The genius of Rubens was universal. He excelled in History, Allegory, Portrait, Auimals, and Landscapes; he seems to have had more variety and more playfulness in his pen- | this Master which the Directors have secil than any other Artist. If sometimes lected, will be universally admired as a he appears careless, it is never the effect of most captivating display of strength, richignorance; he knew that what he gained ness, solidity and, truth. in correctness, he might lose in freedom; and that freedom constituted one of the most fascinating charms of the Art. The Picture of the Bacchanalians is an example of his vivid and luxurious colouring; but brilliant as it is, it is still harmonious. And Moses raising the Brazen Serpent, and the allegory of Peace and War, are proofs that he could equally adapt deeper shadows and more sober tints when they were better suited to his purpose. For richness of colouring, grandeur of design, and facility both of invention and execution, no painter ever surpassed him. Although Vandyke was not endowed with the same fertility of genius which characterized his Master; although he does not seem to have had the same confidence in himself, or to have dared to make the same bold and extraordinary attempts; yet he possessed more delicacy of taste, and his Portraits are superior to those of Rubeus. That of Charles I. in this Exhibition, shews how much delicacy of execution may be combined with breadth, and with dignity: no Painter knew better how to appreciate these qualities than Sir Joshua Reynolds, and he pronounced this to be the finest Equestrian Portrait which had ever been produced. As the splendid style of Rubens was well calculated for the representation of Battles, of Triumphal Processions, and of all sub- | jects of shewy magnificence, so the manner of Rembrandt was equally well adapted to give interest and effect to scenes of more solemu grandeur. He has, perhaps, above all other masters, the merit of originality. In others, we can trace the road by which they travelled; but Rembrandt struck out a path of his own, which conducted him to a very high degree of perfection in his Art. In the skilful management of light and shadow, on which so much of the sentiment of a Picture depends, he is surpassed by none; and if, as has been observed, the expression of his characters is sometimes mean, it is always appropriate. In the practical part of his art, no Painter understood better the management of the background of his Picture; he could render it broad and quiet without barrenness, rich and active without disturbance, and he always made it most advantageously conducive to the general purposes of his work. The Wise Men's offering, and Anslo and his Wife, are among the finest of his works; these, and the other productions of In addition to the works of these illustrious Artists, the Directors have endea voured to obtain specimens of the other most celebrated Masters of the Dutch and Flemish Schools. Among them Cuyp stands pre-eminent: the brilliant day-light of his Pictures enlivens every collection in which they are found. Gerad Douw, Metzu, F., Mieris, Terbugh, Potter, A. Ostade, Teniers, J. Steen, Berghem, Both, and Vantervelde, display generally the most faithful and exact imitations of nature: they all shew what assiduity may accomplish; and some of them unite with care and industry several of the higher qualities of the Art. The Directors trust that this magnificent display will be productive of much advantage. To shew what may be attained, is likely to lead to the endeavour to attain to it. Great examples are the true promoters of emulation, the surest conductors to excellence. Who can doubt that the genius of a WELLINGTON will create future heroes to achieve the most brilliant exploits for the glory of our country? Let us hope that the genius of Rubens may produce Artists to record them." To these observations we can add nothing. The works must be seen to be understood; and whoever best understands them, will most admire them. The whole together forms one of those decidedly instructive lessons in art, of which it has been our lot to witness but few. THE EXHIBITION OF THE ROYAL The Forty-Seventh. If it be true of Art, as of Fame,-Viresque acquirit eundo, an establishment, verging on the duration of half a century, should. offer no inconsiderable superiority over its former displays. Certainly, there is a purer taste abroad, than there formerly was: certainly, the public demands greater merit from the artist, whatever the powers of the artist may afford. We are not desirous of encouraging a fastidious taste among our countrymen, as we know the speedy result is a sickliness and depravity, the surest of all marks of decay and incificiency in the real power of these studies, over the liberal mind. Nevertheless, a progress-a full progress-from the rude conceptions and unfinished manners of fifty years ago, is every way desirable; and beyond doubt those manners are shaken off'; which is so far an advance toward perfec- | Battle Pieces; on which we leave practical this art will probably form an English Having allotted as much space to this article, (the Arts) as we can possibly spare, our remarks on particulars must be, of ne-style at length. cessity, brief. The SCULPTURES are not numerous. The President's sketch of his great picture of Christ Rejecte, has some advantages Mr. Westmacott's figure of a Kneeling if our eye, and recollection, do not deceive Negro, is not a Negro in the legs; which us, over his large work; but, to say truth are too fully seen to be concealed, and too there is one thing in which this grand com-real Negro has always something of a bow Herculean to be copied from nature. A position errs-not to be remedied. Mr.leg. West has represented Pilate and Caiaphas close together; whereas, nothing is clearer than that the High Priest kept a more sanctified distance from the Heathen Governor. This affects the whole scene, and action. A very pleasing amusement is offered by We are somewhat surprized that the arthis collection. Whether the acknowtist did not introduce Barabbas among the ledged admission of Oil Paintings be a real soldiery, on the front ground; his physiog-improvement, many doubt. On looking nomy would have afforded a very striking and picturesque variety and contrast. The Exhibition of the SOCIETY of PAINTERS in OIL and WATER COLOURS; at Spring Gardens. over our Catalogue we find that it abounds with marks favourable to the Artist, among Mr Wilkie's picture of Distraining for the Water Colour Drawings; but not Rent, is a masterly performance: we feel it, an equal proportion among other works as if it were a scene from real life; a study There were few exhibitions, we beheld from Nature. As a picture, it well de- with greater pleasure; it is still a meriserves to be engraved; as a subject, we torious assemblage; nevertheless, we reshould be glad it were buried in oblivion.gret some absentees: and memory recalls The Show is this year varied by Portraits them, when we perambulate those parts. of several exalted personages, who visited of the room, in which they formerly met our Metropolis last summer. We cannot our inspection. say, that they are all we expected them to be; the artist has shown his art too conspicuously, he has favoured his originals as to age, form, air, &c. at the expence of that solidity and dignity of manner, which had been more becoming. There are Portraits in the Rooms of the greatest merit, but they must not detain us. The LANDSCAPES of our countrymen equal any that can be shewn in any part of Europe. There is generally a harmony and sobriety in them, highly commendable. Several are even grand; and though we do not think that Carthage was built, exactly as Mr. Turner has represented Queen Dido engaged in building it, yet we can contemplate his picture with pleasure. There are other pictures and drawings of this artist of truly original merit.. AGRICULTURE. PENRITH AGRICULTURAL SOCIETY, Nourishment Essay on Digestion, &c. At the first Spring meeting of the society, held in the town of Penzance, on the 18th day of April, 1815, Sir Rose Price, Bart. a Vice President, in the chair; among other things, the thanks of the meeting were given to Henry Boase, Esq. treasurer to the society, for a paper, which was read, on the comparative quantity of nutritivematter in various grains and roots. read, on the theory of feeding cattle, foundA paper communicated by Dr. Paris was ed on the chemical examination of dif Mr. Daniel continues to delight and in-ferent vegetables by Sir Humphry Davy, struct us by his Oriental scenery: another line or two, in the catalogue, by way of illustration, would be found acceptable by ordinary spectators. Mr. Ward's great picture of Rocks in Gordale, is little short of a violation of the Painter's proverb, "There is no bringing a mountain into a picture;" his cattle are interesting objects. In what may be called Common I ife, there are several well executed performNor is the collection without its ances. with suggestions how to apply such know- 1 Table 1st. shewing the quantity of nutritive matter afforded by 1,000 parts of each of the following substances, good of their kind: Wheat 743 -955 | Cabbage................ 73 920 Swedish Turnips 64 Common Turnips 42 Sweet Mea. Grass 78 Fiorin.... 260 cess of digestion ;-for this reason—nature reason Wheat is more valuable for the use in no one instance presents our food in of Bread, and Barley for that of Brewing a concentrated form, the nutritious parts and Distilling. For the same reason Poare always, more or less mixed with inert tatoes may be more suitable for some purmatter; and, is it not reasonable to sup- poses, and Turnips for others, irrespective =pose, that if nature intended the nutritious of their relative proportion of nutriment. parts alone to be taken, and the rest rejected, she would have furnished the animal with instinct and organs for separating the chaff and straw from the grain? but it is evident that she never intended that such a separation should take place, and the practical inference to be deduced is-that food should never be given to animals in its most concentrated form; but should be mixed with substances, for the sole object of increasing its bulk, and thereby producing a salutary state of distention, which appears to act as a natural stimulus to all the digestive organs. The paper was concluded with some remarks on the pasturage of Cornwall, and the author exhibited a scale of " Agricultural Equivalents," shewing the specific and relative quantity of nutritive matter contained in different vegetables, and by a very inge. nious application of the sliding rule, it may be easily solved. On the Quantity and Equivalents of soluble or nutritive matter, in certain vegetable substances. The following tables are constructed from the results of some very careful Analyses (by a celebrated Chemist) of various kinds of vegetables. Should they be of little practical use, they may at least afford some amusement to the members of our Agricultural Society, and to that spirit of scientific enquiry so happily excited among our practical farmers. It is proper to premise, that these tables are not minutely exact, because the data were assumed in round number, and fractional parts rejected in the process, that the tables might not be swelled with a multitude of figures. However true as an abstract theory the Tables of Equivalents may be found, it is not intended to set them up as a rule to supersede, or even lessen, attention to the ever varying circumstances of soil, expence, and suitableness to the end proposed, which must all be taken into the estimate of the practical farmer, and be by him appreciated accordingly. Although an average acre of Wheat contains less nutritious matter than an acre of Barley, and still less than that of Potatoes, it does not therefore follow that Potatoes must in all cases, or generally, be the most beucficial crop. It should also be remarked, that the nutritive matter is a compound substance of various kinds, for which Potatoes... 98 76 Clov. & Ray grass 36 Table 2nd, shewing the Equivalents to a given quantity of Wheat. 100 Pounds weight of Wheat is equal to→ Barley 103 Carrots........ 974 Oats... Potatoes ......... ...... 128 367 1308 Cabbage Suppose an acre of Wheat ten Cornish 6606 of Potato.29 ......at 224lbs. ditto. And if the average produce per acre of Wheat 10 bushels, Barley 15, Oats 20, and Potatoes 100, the quantity of nutritive food per acre will be, of lbs. ........ lbs. 1,857 1,719 Potatoes.. Acre of Barley, would feed 20 men. Table 4th, shewing the equivalents to a given quantity of Oats. Suppose an acre of Oats to produce 20 bushels, or 2,500lbs. weight, is equal to |