Chaudet, the sculptor, is mentioned with eulogium for his picture representing the Flight of Eneas: but his designs ought also to be mentioned. "The Triumph of Psyche" is very fine: he made several designs for Didot's grand edition of Racine. He is an engraver also. His designs are well composed and well executed. Thibault, the architect, is only mentioned for some pictures he did ten years ago; the author, therefore, has never heard of the grand and fine landscape he painted for ' prince Louis, in which Rinaldo and Armida are represented. M. Fiorillo is not acquainted with the pieces in water colours by this master; he does not know that in this branch he has surpassed all ⚫ that went before him. I shall only mention his View near Tivoli, and that of the Village of Est. M. Fiorillo is also ignorant of Thibault's performances in architecture and in perspective: this artist has begun a work upon perspective, which when published will be a treasure to the arts. His studies in China ink are full of truth and beauty. In naming Bourgeois, something should have been said of his bistre drawings, which are very fine. His Bridge of Seves surpasses every thing of the kind. The pictures of Demarne, M. Fiorillo says, have the air of being done in a dark chamber: this accusation might have been spared, as well as that of his compositions being flat and common. He ought rather to have spoken of the beau ties to be found in Demarne's landscapes; and he ought to have said that he paints animals extremely well, and that his pencil is very careful. We find the name of Ommeganck in M. Fiorillo's work; but we are astonished not to find it said that he paints well, and that none can portray sheep better than he does. I did not know that the youngest of the Redoutés paints or designs flower-pieces only: he belonged to the expedition to Egypt, and has carried the art of drawing fishes in water colours to a perfection which leaves nothing for us to desire. M. Fiorillo charges the French with unsuccessfully imitating the Flemish painters; but they had no occasion to imitate them at all. Taunay, Demarne, Drolling, Swe. bach, mademoiselle Gerard, Boily, and others, have produced pictures which, without being copied after the Flemish, will do honour to their genius with posterity. I have thus corrected the defects I have found in running over the work of M. Fiorillo; and I must do him the justice at the same time to say, that his works contain some well written articles, and that he is acquainted with literature; but he writes hastily. In order to compose a work upon the state of the arts in any country, it requires a long time to collect materials, particularly when the author is not in the country itself. It would be tedious to mention in detail the artists whom M. Fiorillo has entirely forgotten; Ishall merely mention their names with some notes, in order that he may inquire for their productions, if he ever gives, what is very much to be desired, a second edition of his work. Among the pupils of Casanova we look in vain for the names of Norblin, Mayer, Duverger, and of Duvivier. Norblin is one of the first battle painters: he lived a long time in Poland: he paints well, and his composition is agreeable. I am in possession of some fine designs of his in bistre and Indian ink. Mayer died very young, and was buried at Ermenonville by the side of J. J. Rousseau. He possessed a great genius. Duverger died young also: I know several very fine designs of his. Duvivier, who remained with his master until he died, lives at Vienna, and paints with great success. Lantara painted and designed in the taste of Claude Lorrain, and his pictures have an agreeable effect; his designs, generally in black crayons, are very much sought after. M. de Boisseu, of Lyons, a true amateur, is one of the best designers I know no one is superiour to him in using Indian ink: his landscapes are true portraits of nature; the very hour of the day is observed in them his figures, his animals, every thing is beautiful in his designs. M. Boisseu engraves in a manner which leaves him few rivals. The painters of Geneva are entirely forgotten by the author. The works of St. Ours, Vaucher, Topper, Larrive, Linck, and others, deserve his attention. Professor Jay, of Grenoble, ought to have been named: he has been in Italy, and designs landscape and figures extremely well. Gamelin, who lives at Carcas sonne, in the south of France, has great talents for battle pieces; it is a misfortune to him that he does not live in a great city. Historical pieces are not his forte, however ; but in the country a painter must do every thing. Pillement senior, who is still living at Lyons, ought to have been well known by the author: a great deal has been engraved from his designs. Even Woollett has ren dered him immortal: the designs most easily made by him are al ways the best. Perignon has done some draw. ings with a very agreeable touch: the designs for M. de la Borde's Travels in Switzerland are by him. They all belong at present to M. Van der Nuil of Vienna. They are well done; but perhaps he had not sufficient genius to seize upon the grand masses in this majestick country. Nature in a cultivated state, and nature in a savage state, should be represented in a different manner. If the latter does not strike an artist, he cannot do it justice. - Moreau junior is not named at all. His talents are surely known, however, in Germany: the numerous works of this many unique in his line, have been almost all engraved. I shall instance his designs for two editions of Voltaire. His fertile genius prevents us from accusing him of copying himself, far less of stealing from others; his subject always penetrates his mind in such a manner, that his design never fails of becoming an excellent picture. His composi tions are wisely conceived, and his figures are well drawn; his designs, which are generally in bistre or Indian ink, are neither too much nor too little finished. I hope that France will long retain this esti mable artist. Posterity will be Posterity will be unable to conceive how one man could have found time to make all the drawings which go by his name. The industrious man who is endowed with genius, produces he knows not how. His brother, known by the name of Moreau the landscape painter, died a long time ago: he painted with great facility, but was not always careful in his works his tone is not always the truest in the world. : Wille, the engraver, is still alive. He is the patriarch of artists, and is now ninety-two years old. The revolution destroyed his fortune, and only his life was saved if to have laboured much and well, and to have done great service to the arts, deserves a recompence, it is surely Wille who deserves it. He was the reviver of engraving in France, which seemed to have been lost since the days of Edelinck, Audran; Drevet, and others. The "Musiciens ambulans" and his "Cleopatra" will always entitle him to enjoy the epithets we have now given him. All that Europe can boast of in point of engraving has come from his school. His leisure hours were employed in designing, and generally in studying rural scenes. Wille junior has done several pictures; but for these some years past he has not painted any thing: he handles his pencil in a most wonderful manner. His designs in black crayons are carefully done; and there are some coloured ones to which the same remark applies. La Fontaine is one of the best, painters of domestick scenery. Ganda would have been far forward as an artist by this time, if he had not died too soon: I am in possession of a very precious work of his; it is his Travels in Italy, comprising more than four hundred studies and designs. Banks was educated by Casas, and travelled in Italy for him: he excelled in water colours. Laurentz designs animals very well, and seizes upon effects with propriety: his pencil is astonishing. Mandewar is a landscape painter; he is chiefly known for the light and agreeable manner in which he works with lead pencils. Bera designs natural history well; he is a pupil of Redouté, and he endeavours to follow the footsteps of his master. Brijandet, an able landscape painter, is dead. In his trees we ob serve that he studied nature much, and that he studied her with good effect. No man can paint a head better than Wallin; it is a pity he has not studied nature; his incorrectness, perhaps, would have been less. The two Ozanes are excellent at designing sea pieces: one of them has engraved a great deal, and has done it well. They are acquainted with the forms of vessels, and they give them in an agreeable manner. Bergevin designs very well with the pen, and composes bas reliefs with facility. Mistback gave great hopes. He designed landscape well, and executed with care the details of architecture. He was a pupil of Belanger. The journey he made with M. Bianco de Brant in the south of France did him great service. He died last year. Percier, the architect, has made some fine designs in water colours, consisting of antique and architectural subjects: he has an exquisite taste for furniture. Baltard, the architect, favourably known by several works, designs architecture and landscape extremely well. Bertaux, who has been distin guished generally by the name of the modern Callot, designs with an astonishing facility. I have seen, with very great pleasure, his pen and ink design of the Battle of Austerlitz, which he is engraving for placing below the portrait of the French emperor. Pillement junior, whom I ought to call the first landscape engraver, designs perfectly well this kind of drawing. Several sculptors are distinguished for their designs. The name of Moitte has been for a long time favourably known among the amateurs of designs: a great deal has been engraved after him. His designs are well composed and well conceived. Taunay, the sculptor, his pupil, has not made many designs, but they are very fine ones. I possess two of them; one representing Charon, to whom Mercury has delivered the Shades of those who are to pass the Styx: all seem GENTLEMEN, desirous of returning the small heads are full of expression; the composition is agreeable, and the Mercury is of an astonishing lightmess. The other is Time extin guishing the Torch of Love. One of the first painters said it was worthy of Julio Romano; I have therefore nothing to add. Boichot designs very well after the old masters; he prefers the Floren tine school. Naudet is one of those artists who unites in one person all the qualities of a travelling painter. He has accompanied me for these five years past in my travels. The five hundred designs, which are the fruit of these travels, will prove the accuracy of my opinion. I may have still omitted some very distinguished artists, who may have been forgotten by M. Fiorillo also; and as I have trusted to my memory alone, my only desire has been that it should not deceive me too often. For the Anthology. HAVING, in the Anthology of last month, given admission to certain strictures upon a poem, extracted from the Port Folio, and entitled "A Picture of Boston," may it not also be presumed that you will, with equal willingness, admit an opinion, somewhat opposed to that of your correspondent, and that no exclusive nor ex-parte attention is to be apprehended from the pages of your instructive miscellany? Will you afford place and patronage to the simple judgment of a recluse, who loves the Muses, without being their favourite or their follower; of course uninfluenced by hope, and inemulous of reward, thence unprejudiced, and, as nearly as human passions may admit, impartial? He confesses, that to him the original poem was communicated previous to its publication, while truly, and upon the honour of a gentleman, he disclaims any part or interest in the composition, excepting that of friendship, good will and discriminating justice. Though far from giving unqualified approbation to a sentiment declaring the Exchange of Boston to be of christian jews the prey,' neither does it appear to me just or decent to adopt the lanceremoniously styling the poet a guage of the criticism in so unliar,' since to try what the critick chooses to denominate a satirical poem by the standard of literal, un-left-handed and insolent,' with a varnished matter of fact, were to wonder from what Bedlam this reduce poetry to prose, and to re- maniack escaped, who, instead of quire from a work of imagination ruminating and grazing at large on the properties of a political pam- Parnassus, without shackle or clog phlet. But the merit of the poe- on any of his feet, claims from his tick composition, as such, is not friends the stern discipline and analysed by him, for his positive strait waistcoat of the cells.' In assertion that the author has ex- fact, this fine discussion displays posed, a < flaccid muscle, poorly the very reverse of argument or propped by ill concealed fragments, detection, since it advances much pilfered from real poets, does and proves nothing, having more in fact prove nothing, unless the of the asperity of personal pique, 'flaccid muscle' were displayed, than the rational conclusion of corand the pilferings made visible. rect taste and mature judgment. In neither instance has the at Neither can I agree with the crittempt been made. ick in considering the metropolis of New-England wantonly calumniated,' and the WHOLE CITY holden up to contempt, as destitute of virtues,' &c. &c. since the poet has given his admiration and bestowed his eulogy upon Boston, not only for its scite and many advantages of local charms and attraction, but also as highly gifted in mind and morals, thus The present writer is tolerably well read in the poets; yet he has hitherto detected in the 'Picture of Boston' neither pilferings' not 'imitations.' Further, when the critick observes that these miserable calumnies are crutched upon rhyme and hobble about in measures of poetry, stilted but not elevated,' it appeared a little odd to see crutches and stilts so blended together, since brought to the test of real life it is thought they would rather interfere.* If the rhymes really hobble, it only shows a bad ear in the poet, respecting which allegation the lines must speak for themselves. But the sentiments of the poem is most particularly canvassed by the critick, while the poet, in his individual capacity, is accused of lying and stealing, and also termed * false and malignant, singularly 6 And all the splendor of their fame is thine." From which general characteristick the poet proceeds to individualize distinguished excellence, not indiscriminately suffered to pine in with an implication that genius is neglect and disregard, since the Rev. Mr. Buckminster is describ |