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In his laft truggle in their caufe, he was covered with wounds, by which he irrecoverably loft the ufe of his limbs, was taken prifoner, and confined two years by the late Emprefs of Ruffia. The prefent Emperor Paul, within twenty-four hours after his acceffion, liberated him from his confinement, and, as it is understood, granted him a penfion. During his ftay in England (on his way to America), he uniformly refused every intreaty, even from perfons of rank and distinction, to fit for his picture; but Mils C. Andras having had repeated opportudities of being with him, took his portrait had the opportunity of feeing them. The drawing from this, we believe, was made by Stothard. From this, Sharp has juft engraved an admirable whole length portrait of the General reclining on a fofa. The fize is twelve inches by fifteen, and the price one guinea; and it is published for Meffrs. Boydell, Cheapfide and Pall-Mall; and Meffrs. Colnaghi and Co. Cockipur-ftreet. BATTLE OF BUNKER'S HILL. Painted by Trumbull, engraved by J. G. Muller, and published by Poggi, 41. 45. To preferve the memory of thofe men to whom America owed her independence, and delineate a series of those actions by which that independence was acquired and maintained, is an idea worthy of Rome, when in the zenith of its glory. It induces the tifing generation to confider their their ancestors with refpect, and incites them to emulate the examples fet before them, in such characters as their late revered prefident, who muft in future ages rank very high among the legiflators, who by the prudence and moderation of their government have given ftability, or at least a great probability of it, to the ftates which were founded by their wif dom. Stuart's portrait of this great charafter we noticed in our laft; and, like the medals of the heroes of Greece in its beft ftate, it will give to future ages the countenance of the man to whom America has been so much indebted. The Battle of Bunker's Hill is a grand defign. The point of time is interefting: it reprefents two officers, one of the Britifh, the other of the American, army, desperately wounded. The young American is the principal figure, and is evidently in the agonies of death. An English grenadier is prevented from giving him another wound with his bayonet, by an American foldier, and a British officer, the latter of whom humanely arrefts his arm in its progrefs. Thefe form the first groupe. In the fecond, a British officer is carried off in the arms of the foldiers. It is a very fine print, and in defign much fuperior to the Sortie. The engraving does the highest credit to the artist, J. G. by whom we do not recollect to have feen any print of much confequence befides this. May his labours be fuccessfully continued! THE DEATH OF GENERAL MONTGOMERY, J. J. Clemens fculp. This print is not equal to the preceding, either in defign or execution. The defign is formal and too studied; and the drawing, engraving, and general effect, inferior. The defign of each, in the mode of thinking, diftribution of light and fhade, drawing, and indeed every thing that appears in a print, is much, rather too much, like the manner of the Prefident of the Royal Academy. Portrait of Bonaparte, whole length; painted at Milan, by A. Appiani; engraved in meztinto by J. R. Smith, from the original pic Iture in the poffeffion of the Earl of Wycombe, published Jan. 24, 1800. 11. 15. This is a good print; and, for aught we know to the contrary, may be a likeness; but in all the portraits which we have yet feet of the present Chief Conful of France, there is a heavy vulgarity, by no means confonant to the character of the man. From all the fpecimens we happen to have feen, portrait painting appears to be at a very low ebb on the continent, and to this we may perhaps afcribe the want of any fhadow of that dignity with which the late Prefident of the Royal Academy impreffed many of his portraits of the diftinguifhed characters of this country. Added to this, we have fome little doubt of the good faith of many of the importers of thefe friking likenesses. The Fairing. The Savoyards. Painted by Singleton; engraved by C. Turner ; and published by Colnagbi, price il. 1s. the pair. Thefe, though not very particularly ftriking in either defign or execution, are fimple and pleafing fubjects. In the firft, we are prefented with a lady diftributing toys among a number of children, who feem not a little to exult in their acquifitions. In the fecond, fome children are liftening with attentive glee to a Savoyard mufic-grinder and his companion an infant tamborina. Rolla throwing himself at the Feet of Pizarro. The Death of Rolla. The R. H. F. B. inv. The Right Hon. Lady Caroline Stuart Wortley del. publifhed by Bovi, at 10s. 6d. each. These are right honourable designs, and, confidered in that light, are entitled to great praife; as it is highly creditable to ladies of rank to employ themselves in reprefenting what requires a portion of talent, and cultivates and improves their tafte, while fo large a number of their contemporaries are totally abforbed in their unremitting attention to cards or the faro-table. The defigns are pleasing ; the fubjects, from the well known popular play of Pizarro, are explained in the titles: each of them has the name of Bovi, as engraver; but, we think, there are parts in each, in which the hand of Bartolozzi is plainly diftinguishable. Portrait of Mrs. Arbuthnot. Hoppner pinxit, S. W. Reynolds fculp. Published for Reynolds, No. 47, Poland-firect. 75. 6d. This portrait is in a very good tafte, and intended as a companion to a print of Mrs. Bouverie. The general effect is ftriking, but it would not be a lefs pleafing print, if it were not of quite so fombre a hue. guish the productions of that artift. His Storm in Harvest is not yet finished, but, from the prefent appearance, gives every promife of being a first-rate production. At the late Sir William Mufgrave's, and fome other late fales, the rare prints fold at prices beyond all calculation; and thofe purchasers who would have made mouths at many of the originals, have now given twenty, thirty, nay fifty, pieces for their pictures in little! This mania is, however, fome encouragement to collectors; it pays them higher intereft for their money than the funds; for in every fale, the prices are higher than they, were in those that preceded them. The fale of the prints which belonged to the late Mr. Dalby of Liverpool, will, we have been informed, be at Colnaghi's the beginning of the month. He collected at a period when there was as great a rage for the works of Rembrandt, as there has been of late years for the works of our justly admired countryman, Hogarth: though, as the prints of the former had little to recommend them, except their effect, and thofe of the latter are invariably marked with character, truth, and nature, it is reasonable to think, that, while men reafon, they will continue to be held in high estimation. The pictures and prints collected by the late Mr. Strange, many years refident at Venice, were fold by Chriftie the latter end of last month, in Portland Place. It was rather a collection than a felection, but fome of the pictures, and prints too, fold at a high price. Fufeli's Milton Galery is again advertifed, with additional pictures. Of this very great undertaking, by one man, we fhall give a more particular account. The Central Museum of Arts is charged by the Minister of the Interior, with the taking moulds from the antique ftatues arrived from Italy. It is to fell these plafter figures to artifts, and to the central schools, at very easy rates. The Museum is alfo authorized to fell at the fame low prices thofe which it poffeffes at this time, fuch as thofe from Germanicus, from the groupe of Caftor and Pollux, from Apollo, &c. &c. The bronze of Mars afleep, which was in the Museum, has been transferred, with the horses and lion from Venice, into the ci-devant church of the invalids, which is hereafter to be called the Temple of Mars. The Minifter of the Interior has appointed the celebrated antiquary, Vis. CONTI, (Ex-conful of the Roman Repub. lic, and author of the excellent Defcrip tion of the Museum Pio Clementinum) to the place of Antiquary of the Central Museum of Arts. Account of nine of the principal Paintings composed by living Artifts, which have been lately exbibited at Paris. It may not be improper, by way of prelude, to remark, that the French fchool of the present day has been divided into three different claffes. The firft confifts of the pupils who have lately fallied forth from the workshops of Vien, of David, of Renaud, &c. and who, by difplaying unusual talents, have, at the fame time, impreffed the public with unusual hopes. Along with thefe, are to be ranked all who propofe to themselves a fevere and fyftematical ftudy of antiquity, a corre& obfervance of nature, the manner, at once charming and grand, of Raphael, the energetical style of Julio Romano, the admirable naïveté of Leonard da Vinci, the sublime art, and what fome even term the profound philosophy, of Pouffin. The fecond clafs comprehends the old academy, which still affects its theatrical majefty, and its ancient manner and system, now deemed obsolete. The third confifts of those who lean towards the new school, but who continually display the early impreffions of education on minds not calculated to foar above its prejudices. If we are to believe fome of their countrymen, thefe various divifions of the art display the age of ignorance, that is about to disappear; the age of true tafte, that begins to dawn; and the age of philofophy, that already fhoots forth the first rays of its fplendor. 1. Marcus-Curtius devoting himself for bis Courtry. By Callet. The principal fubject and acceffories are equally theatrical. On one fide are the priests, and all the appendages of a fuperftition long fince exploded. The popular curiofity and admiration; a horrid gulph, emitting a dreary, doleful flame: all thefe prepare the mind for the hero, who precipitates himself on horfeback! This is a grand fubject, but the critics have pronounced (to adopt a vulgarism frequently made ufe of by our own artists), that it is badly handled. In the first place, it is faid to be pantomimical, the defign devoid of judgment, and the colouring far too gaudy. In fhort, the artift is advised to ftudy Sadolet's picture on the fame fubject, and to re-peruse Livy. "Mota Mota loco tellus fpatii difcrimine vafto Abititerat, medioque foro patefacta vorago Abrupta in præceps, immenfa, orifque profundi, Tartareas referans fauces." " Acer erat bello et primis fpectatus in armis Curtius, eductum Curibus quem antiqua vetuftis. Nobilitas laude et ferie decorabat avorum. 2. The Releafe of Ariftomenes. By Debret, one of David's jebolars. The scene is the infide of a ruftic manfion. The warrior is feen standing near a table, with his hands tied together by cords. A young and beautiful female, animated by the prefence of the hero, and favoured by "the thumber of the guards, who had been made drunk on purpofe, cuts the unworthy bands, by means of a fword taken from one of the foldiers. An old woman holds a lamp, the melancholy reflection of whole light fpreads a mysterious air over the whole fcene. The moon, at the fame time, is feen to rife, and the beholder is actually afraid, left her indifcreet light fhould betray the flight of the warrior. This is a moft interefting compofition, and nothing more can be wished for by the claffical spectator, than that the head of the ancient matron had been lefs harsh, and the figure of the young heroine more difplayed. 3. Olympias. By Taillaffon, a Scholar of Vien. Certain affaffins, fent by Caffander, gain admittance into the palace of Olympias, where, as if fuddenly penetrated with hor. for at their intentions, they caft their eyes on the ground and drop their daggers on the appearance of the queen-dowager. This princefs, with wonderful majefty dif played on her forehead, and indignation and reproach beaming from her countenance, while her arms are extending towards the statue of her fon, and her breaft uncovered, exclaims, "Would you dare to attempt the life of the mother of Alexander?" This picture displays great talents; the faults are but trifling, and it would, in this cafe, be ungracious to point them out "Verum ubi plura nitent in carmine, non ego paucis Offendar maculis." 4. The Country in Danger; a Sketch by Lethiers. A coloffal figure, seated on an immenfe bafe, represents Fame fupporting Liberty and Equality. Around are feen arms and military enfigns, intermingled with groupes of warriors, women, and children. A magistrate receives the oath, on the part of . the foldiers, either to conquer or perish, while a fecretary by his fide inferibes their names. A father prefents his five fons, and receives a civic crown in return; the women confer arms and embraces at the fame time on the young men, burning with a love for their country, and panting after the laurels that are to be earned in the blood-ftained field of Mars. This is allowed on all hands to be an effort of genius. 5. Combats of the firft Inhabitants of the Earth with Wild Beafts, according to the Defcription of the Poet Lucretius. By Perrin. On the fore-ground of the picture are women and children in flight; at a diftance are feen men and moniters ftruggling for fuperiority; between the parties is a torrent. So much for the fubject: as to the compofition, the painter has erred, in converting the fubordinate into a principal, and the principal into a fubordinate; for it appears evident that the combat ought to be next the eye, while the effects of female terror, although still visible, fhould recede from it:-but the artift was refolved to paint women and children, in which he excels; and, in that cafe, he ought to have chosen another subject, 6. The Return of Marcus-Sextus. By Guerin, a Scholar of Regnault. Marcus-Sextus, escaping from the profcriptions of Sylla, on his return to his own house finds his wife dead, and his daughter mourning over her corpfe. The head of the inconfolable husband is fublime, and the attitude mournful; he appears to be motionlefs and distracted, and refembles not the Ugolino of Reynolds, but of Dante. This charming picture will form not only an epoch in the French school, but even in the hiftory of the art, for the expreffion of Sextus rivals that of Brutus, by David; and of Belifarius, by Gerard. The French painters have, on this occafion, exhibited another inftance of difinterestedness, for they have exprefed their admiration by means of a wreathe attached to the picture, with the following infcription: "Laurier donné par les Artiftes." On this occafion, in conformity with the French cuftoms, a banquet, at which all the artists and feveral men of letters affifted, took place. Vien, the restorer of the French school, was folemnly crowned, while the palms which had been decreed to the two pupils of Regnault and David (one of whom was the |