which do credit to the taste and skill the fertility of his genius that poor

of our students.

Miss J. Ross has made a very pleasing copy from Rubens's Man and Hawk: the glowing tints of colouring and spirited freedom of execution of this lady are in tone with the original.

The Breeze on the Dutch Coast, by Vander Capella, from Lord C. Townshend's collection, has also furnished a pleasing specimen of Mr. | Watts's pencil.

Wilson's beautiful View in Italy has also been faithfully copied by Mr. Watts, as well as by Mr. Child and Mr. Wilson. The original is one of the best of Wilson's landscapes for mellowness of tints, cool and transparent delineation of water, and that rich and warm glow of an Italian climate for which Claude acquired so deserved a celebrity. It was in the lustre of his colouring and

Wilson alone resembled Claude; their fate and patronage were widely different.

There are many other pleasing copies in the British Gallery; but we have again to notice the want of a catalogue, an indispensable convenience at any exhibition, private or public, and without which it is difficult, if not impossible, to particularize individual works. Perhaps there are objections, as is often the case, from those individuals themselves, to the record of their names with their copies, at a private view where admission is only obtained through courtesy. If they who are most interested entertain such an opinion, it would be unreasonable to require the directors to interfere in the matter. The inconvenience, however, prevents the detail of many pleasing sketches.

TAPESTRY OF THE CARTOONS.

MR. BULLOCK is now exhibiting at the Egyptian Hall, Piccadilly, the superb set of the arras, or tapestry, for which Raphael's Cartoons were originally the designs.

There were two sets of this tapestry made at Brussels for Pope Leo X. from the Cartoons: one set, that which is now exhibiting at Mr. Bullock's, was presented by the pope to King Henry VIII. who hung it up to embellish the BanquetingHouse at Whitehall. It afterwards adorned the palace during the successive reigns of Edward VI. Mary, Elizabeth, James and Charles I.; and during the usurpation was sold, among the other magnificent works of art which the munificence of Charles had collected, to Alonzo de⇓

Cardanas, the Spanish ambassador, from whom it devolved to the Duke of Alva, and eventually fell into the hands of the present possessor, who is a foreigner.

The lovers of the fine arts are aware, that only seven of the Cartoons have been preserved to attest to future ages the genius of Raphael. These England has been fortunate enough to preserve in her royal collection; but they have suffered much in the course of time from ac cident, and the decay of the frail material of which they are composed. This series of tapestry has, on the contrary, been well preserved, and consists of nine pieces, each 14 feet in height, and near 20 in length, measuring altogether in length above

170 feet. The subjects are:

Considering the lapse of three cen1. The Preaching of St. Paul and St. turies since the manufacture of this

Barnabas at Lystra.

2. St. Peter curing the lame Man at the Gate of the Temple.

3. St. Paul and Elymas before Sergius Paulus.

4. Christ delivering the Keys to St.

Peter.

5. St. Peter punishing the Perjury of Ananias.

6. St. Paul preaching at Athens.

tapestry, it is extraordinary that it should remain in such a good state of preservation: that the colouring is, in some respects, impaired is evident; the copper, as employed in the dye of some of the dark colours, having partially corroded the texture; the flesh-colours have also faded in some of the compartments.

There is now an opportunity afforded of comparing the tapestry with the designs in the Cartoons, and we rejoice to find that so much still remains to perpetuate the genius of so illustrious an artist.

7. The miraculous Draught of Fishes. 8. The Conversion of St. Paul. 9. The Stoning of St. Stephen. This superb series of tapestry represents the origin, sanction, economy, and progress of the Christian religion; and a great critic has truly observed, that in whatever light we consider their invention, as parts of one whole relative to each other, or independent each of the rest, and as single subjects, there can scarcely be named a beauty or a mystery of which the Cartoons furnish not an instance or a clue. The same critic justly adds, that with Raphael form was only a vehicle of character or pathos, and to those he adapted it in a mode and with a truth which leave all attempts at emendation hope. || ture. less.

The other set of tapestries is that exposed to public view at the Vatican on the great feast of Corpus Christi, which narrowly escaped (but not without considerable injury) from the rapacity of the French soldiers, who removed it from Rome in the year 1798. It is said to have been rescued by the late pope from the hands of a Jew in Paris, who had already in part burnt two of the pieces, for the purpose of extracting the gold and silver contained in the tex

Tuy recent change of subjects at || simple principles upon which our adthe Cosmorama (No. 209, Regent-miration is founded, and the rational street,) has attracted our attention; study into which we have been imand as the novelty of this agreeable perceptibly led. The sense which species of optical exhibition wears the proprietors doubtless entertain off its intrinsic merit becomes more of the public patronage will speedifirmly fixed upon the mind. When | ly lead them, we trust, to fresh efwe cease to wonder at the application of science to art, and the combined effect that results, we succeed in deriving a permanent pleasure from the knowledge we have acquired of the

forts for the better encouragement (within their sphere at least) of British art, and secure for this establishment a series of views, drawn and coloured by artists of acknowledged

merit. Many of the views at pre- with our sublimest historical recol

lections. These Exhibitions are at once calculated to delight and interest all classes; and as, unlike in some respects the old style of panoramic painting, they admit, indeed require, minute perfection in the art

sent at the Cosmorama are certainly very well painted. The general View of Rome, and the rich and diversified scenery of the River Tagus, are beautiful. The same merit, but not in an equal degree, is to be found interspersed in many of theist's execution, no expense ought to Views in Asia and Africa, and parts of the Swiss Scenery partake of the same praise.

There are in the present Exhibition fourteen well selected and diversified views, comprising architectural, landscape, and marine scenery, some parts of which are associated

be spared in preserving the patronage so meritoriously acquired, by successively presenting the public, who are daily becoming more enlightened upon the subject of the fine arts, with views in a corresponding style of graphic merit.

SIR WALTER SCOTT'S PORTRAITS. THIS eminent poet, whatever be may be among our novelists, is not the great unknown among our artists; for all of them who travel into Scotland, and of late they have been many, speedily become welcome guests at Abbotsford. The late Mr. Raeburn was a constant guest, so is Mr. Allan, and Mr. Wilkie is also a cordial visitor; but it may be said, these are Scotch artists, and the poet is a Caledonian. We must be more liberal to the hospitality of Sir Walter Scott, whose genius is untainted with nationality, in an improper sense; for he has lately received and kindly entertained three of our young students, who sought the Highlands for professional study, Messrs. Newton, Leslie, and Landseer: of course, in the visit the portrait of the host was the flattering employment of the young guests; and, as a consequence, we have Sir Walter thrice repeated upon canvas. In an account which we have read of these portraits, it is said, that "the three portraits differ in some respects from each other, but

they are all considered very like the original. There is nothing of an elevated character about the head of Sir Walter; the predominant expression is shrewdness, we had almost said cunning." This we must say is a very odd remark; for we do happen to know that there is a very remarkable character in the external conformation of our great poet's head, the crown of which (the corona frontis) is remarkable for its height and peculiar conical shape; a peculiarity equally striking in the genuine pictures of Shakspeare, and observable in Mr. Chantrey's capital bust of Sir Walter Scott, which was exhibited a year or two ago in the Royal Academy. We do not purpose to enter into the spirit of craniology, but to state a fact now for the first time brought into dispute between the sculptor and the painter. The account to which we refer goes on to state, that " in Mr. Leslie's picture, Scott is represented sitting in a chair, holding in his right hand a stick, which, on account of his lameness, is