pire. The arts, to prosper, must be patronized by the Sovereign, the aristocracy, and the people. We were happy in the possession of a Sovereign who not only encouraged art, but who knew by what means that encouragement might be made most effectual, who herself enjoyed the noblest aspirations-who loved, valued, and understood the art. As a Royal commissioner, he could state that he had never seen more enthusiasm in the cause of art, or more devotion to its encouragement, than had been exhibited by the Sovereign.

Mr. Ewart, M.P., moved a vote of thanks to Lord Monteagle and Mr. Wyse, M.P. for their services in their respective Houses of Parliament. The former, in returning thanks, acknowledged the assistance he had received from the Duke of Cambridge and the Marquess of Northampton.

The drawing of the prizes was, as usual, performed by two young ladies, one of whom drew from a wheel the numbers, while the other drew from another wheel the prizes. The first prize drawn was one of 701. in favour of Dr. Culham, of Dartford. This was followed by one of 30% in favour of Mr. Jas. Thompson, of Nova Scotia, and the next was one of 1007. in favour of Mr. Kilburn, of Port Philip, Australia. The singularity of these two prizes being awarded to persons dwelling on such opposite points of the earth, created a sensation of surprise, and was loudly ap plauded. The prize of 4007. was obtained by Miss C. Remington, of Kirkby Lonsdale; that of 300l. by Mr. E. M. George, of Cheapside. Among the other prizeholders were, the Countess of Arundel and Surrey, 307.; the Countess of March, 301.; Lady Lushington, 307.; the Earl of March, 251.; Earl Grey, 107.; Edward Hawkins, esq. F.R.S. 60%.; A. Cooper, R.A. 201.

SALE OF MR. PENRICE'S PICTURES.

The second and last picture-sale of any importance this season took place on the 6th July, at Messrs. Christie and Manson's. Among seventeen specimens, no fewer than six were master-pieces, and three of these were master-pieces of master-spirits. No. 1, "The Israelites drawing water from the Rock," by Bassano, brought 70 guineas. No. 2, a "Market," by the same, 90 guineas. No. 3, the "Virgin, Child, St. Joseph, and St. Elizabeth," by Coello, commended for being an imitation of Carlo Maratti, 205 guineas. No. 4, a "View of Florence," by Canaletti, 200 guineas. Nos. 5 and 6, two "Flower and Fruit Pieces," by Van Os, 190 and 170 guineas. No. 7, a

66

Its

"Reposo," said by Titian, from the Giustiniani collection, 200 guineas. No. 8, a "Hawking Party," by Wouvermans, once excellent, and may become so again under the skilful care of its purchaser (Mr. Farrer), 620 guineas. No. 9, "Le Lendemain des Noces," by Teniers, 510 guineas. No. 10, a "Landscape," by Gaspar Poussin, 380 guineas. No. 11, the Flight into Egypt," by Claude, representing a beautiful Mediterranean inlet, without a single feature of the Levantine shore, 760 guineas. No. 12, another and far better Teniers, "Pair ou non Pair," which may be Englished, "Odd or Even;" a game represented at its crisis, before a Dutch alehouse. It once belonged to the Orleans collection. Mr. Hibbert gave 300 guineas for it half a century ago; it now brought 850. No. 13, "Lot and his Daughters," by Guido, purchased for the National Gallery at 1600 guineas, and on which we quote the following remarks from the Athenæum :"A graceful, a grandiose, an attractive, though quite unmeretricious picture. venturesome theme is the forlorn hope of a painter to succeed in; he seldom escapes unscathed; Guido's discreet skill and delicate taste enables him to triumph. His proper choice of the time makes his visible delineation as little objectionable as the catastrophe itself, seen through the dim veil of sacred description. We are not here disgusted with a view of senile and incestuous bacchanalianism; the personages, on their way from Zoar to the mountains, betoken not that they have left one Gomorrah for another, nor would find this other anywhere they went, because they had it within them; nevertheless, those beautiful Niobe features of the eldest daughter wear a too pleasure-given regard; and the golden wine-vessel she carries has Cupid-like forms embossed upon it; the youngest, a damsel of still lovelier mien, and her indulgent father, hold discourse more earnest and familiar than patriarchal strictness would have permitted: thus charily, yet significantly, does Guido prefigure the approaching truth. We defend his attempt no further. He outrages costume, if he observes decorum Greek art was undreamt of then, and Roman cloaks had not dawned on any sartorial imagination. This admitted, the figures are draped with tasteful elegance and nobleness. In respect of workmanship, the style we should pronounce transition, between his earlier, powerful, Caravaggiesque, and his later, subdued, own, -nearer, however, to the first. Well. painted heads have always a substantive value, but the hands of these dignified persons would by themselves make com

plete and admirable pictures." Of this picture there is an engraving by Cunego. No. 14, "Susanna and the Elders," Guido, 900 guineas; also engraved by Cunego. No. 15, "Interior," by A. Ostade, 1,310 guineas. No. 16, "The Woman taken in Adultery," ascribed to Titian, 600 guineas. Last, not least, No. 17, the

46

Judgment of Paris," by Rubens: an Orleans article, and brought, when Lord Kinnaird sold it, 3,000 pounds; it now brought 4,000 guineas, and has become one of the splendid fixtures that adorn our National Gallery. "Here are Mercury and the Phrygian shepherd-prince surveying with flushed complexions and watery eyes three hussies of goddesses that unmask their Flemish graces to the noontide sun. Had the judge to decide which was the least of a beauty, it might well have puzzled him. Notwithstanding all this, the picture entrances, enraptures! Power -power is the secret charm of Rubens's creations, gorgeousness only their superficial attraction, sometimes their defect, when it degenerates into garishness." This picture has been engraved by Lommelin, Couché, and Woodman. It may be said the national collection wanted neither another Rubens nor Guido, but such fine specimens once lost would have been quasi irrecoverable; each was bid for like a dish of food in a famine. A single hour sold the entire Penrice cabinet -thirteen thousand pounds' worth of pic

tures.

MONUMENT OF SOUTHEY.

Considerable dissatisfaction is felt at Bristol as to the proposed erection of the monument to Southey in the Cathedral; and it is thought by some that College Green would be the more fitting locality. Mr. W. S. Landor has written on the subject a letter to the editor of the Great Western Advertiser, which we think worthy of republication, particularly as it is referred to in Mr. Britton's letter given in another part of our present Magazine. Sir, Bath, July 25th, 1844.

I delay not an instant to acknowledge your courtesy in sending me the Great Western Advertiser, dated Saturday, July 20th, 1844, and containing the notice of a meeting held to consider about a monument to the memory of Southey. In my opinion your remarks on Mr. Baily's design are just. Among the many who have done honour to your City as their birthplace, Mr. Baily occupies almost the highest station. In this design, however, he has fallen into the same error as Canova fell into regarding the monument of Alfieri, in the church of Santa Croce, at Florence. They resemble one another,

and are the very worst ideas of the two great masters. Mr. Baily is classical; but Mr. B. must recollect that neither mural nor other monuments of the dead ever were seen in the temples of Greece or Rome. If the Christian religion was tolerant of this profanation, it was from motives neither slight nor unholy; it was to protect her defenders from outrage in their last home, and to excite at once the piety and the courage of their fellow-worshippers. It was continued for profit and perquisite. The Crusaders, and others who bore arms at home, lie recumbent under the images of their intercessors, and express, in their placid countenances, no sentiment but devotion. Everything about them bears one character. I was the first, I believe, to express my opinion publicly, that there should be neither burials nor monuments in churches. At the same time I proposed that the images of great men should adorn the public walks of our cities. Such is our climate, that we cannot walk among them frequently in the open air. But why not build ample and well-lighted arcades for their reception? Naval worthies might rest upon rostra, just higher than our heads, and not upon columns where only the jackdaws can see them. Generals of armies should have equestrian statues : poets, philosophers, and historians (whenever we have any), may rest on single plinths; and theirs be only busts. No inscription for any. It is singular that Southey, when we were walking for the last time together, should have conversed with me on the subject of his monument. He was then in perfect health. We walked in College Green; and I said to him, "Twenty years hence, perhaps, workmen may be busy on this very spot in putting up your statue." He replied, "If ever I have one, I would wish it to be here."

I am, &c. W. S. LANDOR.

DECORATIVE ART.

The Committee appointed by the Royal Commissioners to inspect and report on works of Decorative Art, as applicable to the New Houses of Parliament, have recommended the specimens of Ornamental Metal-work sent in by Messrs. Messenger and Sons, of Birmingham, Messrs. Bramah & Co., and Mr. Abbott. In the department of Wood-Carving the artists specially noticed are Mr. Cummings, Mr. Ollett, Mr. Ringham, Mr. Freeman, Mr. Browne, and Mr. John Thomas. The Committee add, that, " among the artists in wood, Mr. Rogers did not comply with the terms announced in the notice put forth by the Commission, and his name has, therefore, not been inserted in the

foregoing list. It is, however, the opinion of the Committee, that among the carvers whose works have been exhibited he holds the first place; and they consider him as the person best qualified to be intrusted with those parts of the wood. work of the House of Lords in which great richness of effect and delicacy of execution are required." In Arabesque Painting the performances of Mr. Collmann, Mr. Goodison, Messrs. F. and J. Crace, and Mr. Johnstone, are noticed with commendation. It is in a significant postscript observed "The Commissioners having had reason to suppose that some of the persons who have exhibited works of decorative art may have employed other hands, or even the assistance of foreigners, in the execution of such works, have resolved that those persons who may be selected for employment in those branches of decoration shall, if the Commissioners think fit, be required to produce specimens of their art, to be completed under such conditions as the Commissioners may think necessary." This applies particularly to the branch of arabesque painting, Mr. Goodison and Mr. Johnstone being, as we are assured, the only artists here mentioned who executed the works to which their names are attached; Mr. Collmann having employed German, and Messrs. Crace, French artists.

BUNYAN'S Pilgrim's Progress: an illustrated edition, with a Life of the Author, and a Bibliographical Notice by George Godwin, esq. F.R.S. F.S.A., and Lewis Pocock, esq. F.S.A.-When the Art-Union of London, in the year 1842, offered a premium, by public advertisement, for a consecutive series of ten designs in outline, illustrating some part of British history, or the work of some English author, Mr. Selous was the successful competitor; he selected for his subject the immortal "Pilgrim's Progress," and produced therefrom a series of graceful and animated pictures, which (increased by the liberality of the artist to the number of twenty-two) were faithfully etched for the Society by Mr. Henry Moses. These, however, formed only a part of the subjects which the skill and feeling of the artist had delineated; he was, therefore, induced by the commendation bestowed upon his first series, and inspired apparently by the subject, to complete the whole of his original sketches, making upwards of twenty additional subjects, besides a number of beautiful vignettes and tail-pieces, which have been engraved on wood, and are now published in the form of a very handsome oblong

folio volume, the page being large enough to admit of the designs being engraved on a scale sufficient for their full effect. The new plates have been intrusted to the well-known talent of Mr. Charles Rolls, and the wood engravings are admirably executed by Mr. John Bastin. To the volume is prefixed a well-written memoir of John Bunyan, and a bibliographical notice, composed with much diligence and care, containing some curious information respecting the original publication of the "Pilgrim's Progress," and some clever fac-similes of the grotesque illustrations of the old editions, forming a remarkable contrast to the polished and classical productions of Mr. Selous. We may add that, as the new designs are of the same character as those issued by the ArtUnion of London, this volume is especially adapted for the reception of their engravings, thus presenting together a uniform series of forty-three plates, illustrating, independently of the woodcuts, nearly every incident of Bunyan's celebrated dream.

His Royal Highness Prince Albert has purchased a gallery picture by Scheffer, the celebrated French artist, which recently arrived in this country, for the sum of 20,000f. Its subject is from Goethe's fantastical and esoteric romance, "Wilhelm Meister." The name of Scheffer, which in France ranks second to none, is not as well known in England as that of the brilliant and gorgeous Delaroche; but the severe simplicity of Scheffer always veils a profound sentiment; the intellect ard the taste are alike satisfied with his productions, and his creations dwell on the memory.

A marble statue of his Royal Highness Prince Albert, executed by Wolff, has reached England from Tuscany, and

arrived at Windsor Castle.

METALLIC RUBBER FOR BRASSES.

We are indebted to Mr. H. S. Richardson, of Greenwich, for two very beautiful impressions of Ancient Sepulchral Brasses, taken with a composition and prepared paper, which are offered for sale to the artist and antiquary. We are not able to describe the materials, which we have not seen in their original state; but we can state of the impressions that they are by far the most perfect we have ever seen. The prepared paper appears to be black; the metallic rubber gives the whole the appearance of the brass itself, except where the latter is engraved, or where its surface is impaired by rust-for the rub

bings before us are no less exact than that; so complete is the duplicate of the brass thus obtained upon paper, both in general colour as well as in the engraved lines. The operation is stated to be as simple as with heelball, and the rubbings appear fixed, and not liable to be smeared.

STATUE OF THE DUKE OF SUSSEX.

Mr. Baily, R.A. has completed the

model for his marble statue of the late Duke of Sussex, intended to be erected in the great hall of the Freemasons, in Great Queen Street. It represents the late Grand Master of the Brethren, with the decorations of the Garter and the Bath, and in the robes of the former. The figure is of the heroic size, standing about seven feet and a half in height.

WESTMINSTER BRIDGE.

Mr. Barry's design for an iron bridge of five arches on the site of the present edifice has been promulgated, together with elevations, plans, embankments, &c. &c., to explain its details, and contrast it with the existing bridge, which is pronounced to be unsightly and unsafe. It is stated that by this means, at a cost of 185,000l., the navigation and trade of the river would be improved, the effect upon the new houses of Parliament be consulted, and the whole tend to a general consistency and beauty not attainable by patching up the old structure. However,

the Committee appointed by the House of Commons to inquire into this subject have reported-" That, on a review of the whole of the evidence, no case has been made out to justify the Committee in recommending to the House the pulling down the present bridge and the constructing a new one. That it is desirable that the inclination of the roadway over the bridge be improved, by lowering its summit and raising its extremities. That the parapets of the bridge be lowered as much as is practicable and consistent with safety."

BRIDGE AT COLOGNE.

A bridge of a novel and magnificent description, or rather a double bridge, one over the other, is proposed to be thrown over the Rhine, at Cologne. It will have twenty-five arches; and its extreme height will be 144 feet above the shores. The lower bridge will carry a railroad, to connect the Berlin and Cologne line with the terminus of the Rhenish railway. The upper bridge will be for other carriages, horsemen, and footpassengers. In that part of the piers which extends between the two bridges, cannon will be placed, for the double purpose of breaking up the ice on the river, and defending the city.

LINCOLN CITY PRISON.

The Lincoln city prison has been rebuilt by Mr. Marshall, of Hull. It is constructed for carrying out the principle of classification. On the east side there is a long corridor, two stories high, having twenty-four separate cells for males, and there are seven different courts or airing yards, all radiating from the turnkey's room, so that one person can oversee the whole. Each cell is warmed by a hot-air apparatus, has a tap of water and a washing trough, and a signal by which a bell is struck in case of requiring the assistance of any person after they are locked up. The cell can be inspected without being perceived, and there is also a small trapdoor for communication, without unlocking the cell-door. Hammocks are to be swung instead of bedsteads, and each cell lighted with gas. On the female side there are ten similar cells, with three different court-yards for exercise. In the chapel there are forty-eight boxes or pews, so constructed that the prisoners cannot see one another.

LYNN ARCHITECTURAL SOCIETY.

On the 11th July the members of this society met, on the invitation of the Rev. E. E. Blencowe, the Rector, at the parsonage of West Walton, for the purpose of examining the churches of West Walton and Walsoken. Engravings and drawings of the leading features of these edifices were exhibited in the room in which the members were received, and, the characteristics of the different styles having been pointed out by Mr. Blencowe, the party proceeded to examine the church at West Walton, a fine relique of early-English, though much mutilated from the joint in. fluences of time and bad economy. The magnificent tower is, however, uninjured, and one of the original windows in the south aisle remains to attest the exquisite beauty

of the church when first erected. Much has been done by Mr. Blencowe to preserve what remains, and to improve, where improvement was feasible; but restoration cannot be thought of until the public shall take it up as a county work. Walsoken Church is purely Norman, the arches extending, almost uninjured, the whole length of the nave. Dividing the nave from the chancel is a pointed arch, but with Norman mouldings and ornaments, and dividing the south aisle from a side chapel is a screen of elegant and elaborate workmanship in the Perpendicular style.

BURY ST. EDMUND'S.

The house between St. James's Church and the Norman Tower has now been cleared away, and never was a finer improvement effected, in repairing the offences of a tasteless age, than in thus bringing out in all its grandeur the perspective view of the tower and the church, with the ruins of the great church in the back ground.

MARKET WESTON CHURCH.

The

The north wall of Market Weston Church, Suffolk, has been restored to a perpendicular position by a successful application of science. This church is supposed to have been erected in the 14th century in 1630 it was injured by lightning, and again ten years since it was much shattered by a thunder storm. time had now arrived when it became necessary to effect a perfect restoration, as, from age and the above mentioned casualties, the north wall had declined outwardly 19 inches from the perpendicular, and threatened the utter destruction of the building. Under the superintendence of Mr. Cottingham, this wall (the weight of which had been calculated at 240 tons) has been brought up to the perpendicular, by the process of expanding by heat 3 bars of iron, 2 inches in diameter, which traversed and connected both walls of the church. These bars (which had screws worked on one end of them and projected beyond the south wall) were inclosed in cast-iron boxes filled with lighted charcoal. When the bars were fully expanded by the heat, the screws were wound up firmly to the undamaged south wall. The charcoal boxes were then removed and the process of cooling commenced. Gradually the bars, contracting equally with their previous expansion, compelled the whole mass of the wall to follow the irresistible power now exerting itself, and in four successive operations the whole wall rose to its original perpendicular. The whole operation does infinite credit to Mr. Cot

tingham, who adopted the like means at Armagh Cathedral.

NEW CHURCHES.

April 27. The chapel of ease of Bodicote, near Banbury, which has been nearly wholly rebuilt, was consecrated. The structure now consists of a nave, aisles of the length of the nave, (which was not the case with the northern aisle,) a chancel, and a tower at the western end, in place of one which stood on the north. Το these has been added a small vestry room on the north side of the chancel. Bodicote is a chapelry to Adderbury. The total cost of the alterations has been upwards of 1,575., the risk of which was undertaken by gentlemen in the parish, and a clergyman in the neighbourhood. Before the consecration, about 8001. (including 1507. procured from the Incorporated Church Building Society,) had been received; and on that day, 2261. was collected-2087. and upwards at the morning service, and 177. 88. at the evening.

May 28. A new church was consecrated at Wolverton, Northamptonshire, by the Bishop of Lincoln. The estimated population of the district is 1100, and the number of houses on the railway station is 198. The parish church is one mile distant, and seats only two hundred. The cost of building the church, with extras, amounts to about 4,3001. The architects were Messrs. Wyatt and Brandon, and the builders Messrs. Grissell and Peto, of London. The land was given, and the whole expense of the building was defrayed by the trustees of the late Dr. Radcliffe. The directors of the London and Birmingham Railway voted 1000l., and collected 10007. for an endowment; this sum is funded, and yields the clergyman 637. per annum. The church is called St. George the Martyr. The foundation stone was laid on the 12th of July, 1843. The stone used was procured partly from Cosgrove and partly from Worcestershire. The plan of the chancel window is taken from Tintern Abbey.

July. 23. The Bishop of Worcester consecrated a new church at Birmingham. It is a neat and convenient structure, capable of accommodating about 1200 people, and dedicated to St. Stephen. On the preceding day, the Lord Bishop laid the foundation stone of a new church in Garrison-lane.

July 24. St. John's church, Westwood Heath, Warwickshire, was consecrated by the Bishop of the diocese. It is in the Decorated style, of free-stone, and capable of holding 400 persons. Two-thirds of the sittings are free. The cost of erection is between two and three