loured pictures of the magnificence and sensuality which reigned at different times, in Greece and Rome; and in more modern days we read many descriptions of luxury which superficial thinkers would suppose to indicate much greater plenty, comfort, and splendour, than are now commonly enjoyed. But they are, for the most part, descriptions of plenty without taste, and of luxury without enjoyment. When we compare the ancient modes of living, with the dress," the furniture, the equipage, the conveniences of travelling, and the incomparably greater ease with which the same amount of comfortable accommodation may be obtained at present, none can hesitate to give a decided preference, in all these respects, to modern times. Perhaps it would not be extravagant to say that many of the higher orders of mechanics and day labourers now wear better clothes, and live, not more plentifully, but in some respects more conveniently, more neatly, and with more true taste, than many princes and kings were in the habit of doing two centuries ago, and in a manner quite as pleasant as multitudes of a rank far superior to themselves, at a later period. In short, the remarkable and unprecedented union of neatness and simplicity, cheapness and elegance, which has been exhibited, in the art of living, within the last thirty or forty years, is, at once, a testimony of the rapid improvement of the mechanic arts, and one of the most unquestionable points in which we may claim a superiority over our predecessors.

u When the author speaks of the superiority of modern dress to the an cient, he wishes to be understood not as asserting that it is superior in its form: this he is persuaded would not be in all respects true: the full and flowing garments of the Greeks were, probably, more healthful, as well as more graceful; but in the texture, conveniency, and cheapness of dress, it is presumed later fashions have greatly the advantage.

CHAPTER X.

FINE ARTS.

ON the state of the fine arts, during the eighteenth century, it is not easy to speak in general terms. Were any remark of this kind to be made, it ought probably to be, that in this department of genius, the last age fell considerably below some preceding centuries. In all the branches of art, indeed, which come under this denomination, the period which we are considering had its luminaries; but they were only in a few instances of the first magnitude. For this comparative deficiency some at least plausible reasons may be assigned.

It has been said that, though an art, in its progress toward perfection, is greatly promoted by emulation, yet, after arriving at maturity, its decline is no less hastened by the same spirit. On this principle it has been supposed that the great works of the ancient masters, presenting to modern artists so high a degree of excellence, either discouraged all competition, or prompted those who would not submit to be humble imitators, to attempt something new, which, in most cases, proved to be degeneracy rather than improvement,

Much greater pains have been taken, during the last age, to form many, by laborious instruction, to practise the fine arts, than to encourage and honour those who possessed native genius. Hence the number of smatterers in the artsy during this period, has risen to an unprecedented amount. These have all subtracted more or less of the patronage which would otherwise have been

directed to the most deserving; and thus, by obvious means, robbed the latter of no small share both of fame and excellence.

But if the eighteenth century were less distinguished than some preceding ages, for producing specimens of first-rate excellence in the fine arts, it may safely be pronounced to exceed all other periods in forming numerous, large, and splendid collections of specimens of this kind. The monuments of human genius, especially in painting and sculpture, collected and displayed in the city of Paris, at the close of the century, are undoubtedly more numerous and magnificent than were ever before exhibited in one place." Next to these the collections of a similar kind in Germany, Petersburgh, and Great-Britain, are entitled to high distinction for their extent and excellence.

In several of the departments of the fine arts there are a few names and improvements which distinguish the eighteenth century, and which deserve to be noticed in this retrospect.*

PAINTING.

In this noble art the century under consideration is honourably distinguished. From the fifteenth century till toward the middle of the eighteenth, scarcely any painters of first-rate excellence had appeared. The mantles of those great

w The violation committed on the treasures of the fine arts in Italy, in the course of the late war, under the sanction of the French government, while it certainly cannot be justified on the principles of national probity and honour, may, perhaps, have an unfavourable influence on the progress of the arts in France.

x Several of the facts and names mentioned in this chapter were communicated to the author by Mr. JOHN R. MURRAY, of the city of New-York, a young gentleman of extensive information, and excellent taste in the fine arts, who has just returned to his native country, after making the tour of Europe, where he viewed the noble collections which that part of the world affords, with a degree of intelligence and accuracy of observation by no means common among travellers,

masters, MICHAEL ANGELO, RAPHAEL, and other contemporary artists, seem not to have fallen upon any of their successors. At the commencement of the century Kneller, Dahl, RICHARDSON, JerVAS, and THORNHILL, of Great-Britain, were conspicuous in their respective departments of painting; as were also CIGNANI, GIORDANO, MARATTI, JAUVENET, and many others on the continent of Europe. But these artists, though unquestionably of the first class then known, were inferior, particularly the former group, to many who had gone before them, and by no means equal to some of their successors.

Though the eighteenth century produced fewer painters of great and original genius than several preceding ages; yet it is remarkable for having produced an unprecedented number, who, with a moderate portion of genius, and with great industry, have risen to high respectability in this art. There was, no doubt, more painting performed by artists of this period, than during any former one of similar extent since the art was cultivated. The most numerous, and the most excellent painters, during the century in question, have been produced in Italy, Great-Britain, France, and the United States.

The painters of Great-Britain, about the year 1750, with the view of promoting their art, associated together, and formed a kind of academy, which was supported by annual subscription. This association was continued, with various changes in the degree of its respectability and success, until 1768, when the Royal Academy of Painting, Sculpture, and Architecture was established, under the auspices of the British King, and composed of the ablest artists residing in that country. In the establishment of this institution no individual was more active, or exerted a more useful influence, than Sir JOSHUA REYNOLDS, who held the highest

tank in his profession, and who was, for many years, President of the Academy. From the rise of this institution, which at once furnished a School for instruction, a scene of Annual Exhibition, and numerous excitements to emulation, we may date the revival of a correct taste for the fine arts in Great-Britain.

In the last twenty years of the century, many specimens of painting were produced by British artists, which give them high distinction in a comparative estimate of their talents with those of other nations. Towards producing this effect much has been ascribed to the eloquent and instructive discourses of Sir JOSHUA REYNOLDS, who appears to have taken unwearied and successful pains to form the taste of his pupils on the principles of the great masters of the Italian and Flemish schools. exertions to promote a just taste in this art have been very honourably seconded by those of WEST," FUSELI, and others who hold a distinguished place in the British school of arts.

His

The Historical Painters of the eighteenth century were numerous, and some of them highly respectable. Among these CIGNANI, GIORDANO, MARATTI, and JAUVENET, before mentioned, held, early in the century, an honourable rank. At later periods, the Italian school has been adorned by BATTONI, MENGS, MARTINI, DIETRICH, and several others. In Great-Britain the works of WEST,

y Mr. BENJAMIN WEST (now Sir BENJAMIN) is a native of Pennsylvania. About the year 1763 he went to Italy, under the patronage of WILLIAM ALLEN, Esq. Chief Justice of the then province, whose son accompanied him. After studying the monuments of ancient and modern genius in Italy, he went to Great-Britain, where he has since resided, and where the productions of his pencil have been rewarded with distinguished honours and emolument. The works of this artist are too numerous to be mentioned. His suite of sacred paintings for the Royal Chapel at Windsor have been much celebrated. Besides these, his Death of Wolfe, his Battle of La Hogue, his Battle of the Boyne, and his Flood, are considered as deserving particular distinction. He is said, by some good judges, to be, on the whole, the greatest painter in his department now living.