1829.] serving the liberality of an enlightened age, and an uncandid representation of the mild spirit of modern Popery. Is it so? How comes it then, that the Rheims Testament, which is preferred by the Romish Clergy, contains the following disgustful annotations, extracted in p. 72. 247 REVIEW.-Warner on Catholic Emancipation. "Note on Hebr. v. 7. The translators of the English Protestant Bible ought to be abhorred to the depths of hell." "Note on Gal. i. 8. Christians should have such zeal towards all Protestants and their doctrines, though never so dear to them, as to give them the anathema, nor spare even their own parents." "Luke ix. 55. As the fate of Elias was not reprehended, neither is the Church nor Christian princes blamed by God for putting heretics to death." "Note on Hebr. xiii. 16, and Rev. xvii. 7. When Rome puts heretics to death, and allows their punishment in other countries, their blood is no more than that of thieves or man-killers." "John x. 1, and Hebr. v. 10. All Protestant Clergy are thieves, and ministers of the devil." "Note on Rev. xi. 6, 20. Christian people, Bishops especially, should have great zeal against heretics, and hate even as God hateth them; and be thus zealous against all false prophets and heretics, of what sort soever, after the example of holy Elias, that in zeal killed 450 false prophets." How the dealbatores Ethiopum will get over this, we know not; but we conjecture, that they will deny the existence of any such passages, though the book is laid open before them, and the passages appear in all the copies. Catholic Emancipation, incompatible with the safety of the Established Religion, Liberty, Laws, and Protestant succession of the British Empire; an Address to the Protestants of the United Kingdom, &c. By the Rev. Richard Warner, F.A.S. &c. &c. 8vo, pp. 47. IF we may be permitted to indulge in badinage, by way of relieving our readers, we would say, that Catholic Mancipation in Ireland bids fair, by a real bonâ fide transubstantiation, to convert itself into Catholic Emancipation in England, i. e. rather to become bi-formed; or mancipated as to itself, and emancipated as to others, which others fear for their own emancipation, as likely to be converted ultimately into mancipation. Now he who calls himself (to venture a pun), with regard to Popery, Protestans, and "The genius of Popery has ever been opposed to the spirit of philosophical enquiry, mental improvement, and rational freedom. Let Spain and Portugal, and France, and the Roman Catholic priesthood of Ireland, bear testimony to the truth of this assertion! and hear the vast continent of South America declare, that the only barrier to her peace and tranquillity, to the establishment of sober liberty among her nations, and the intellectual improvement of her ingenious population, is the paralysing influence, the mace, petrific, cold, and dry,' of her PAPISTICAL CLERGY. We do not refuse our tribute of gratitude to those cloistered labours which preserved to us the precious treasures of ancient learning, nor to the ponderous erudition of the Beuedictines, which edited and illustrated them; but we assert, that the Papists have done little or nothing to forward the human mind in its progress to the great and good, to enlarge the sphere of useful practical knowledge, to strengthen the faculty of ratiocination, or to spread through the world the love of letters, united with the love of freedom and virtue." P. 39. The History of the Rise and early Progress of Christianity, comprising an Inquiry into its true Character and Design. By the Rev. Samuel Hinds, M.A. of Queen's College, and Vice-Principal of St. Alban's Hall, Oxford. 2 vols. 8vo. WE are believers in the mathematical axiom of the infinite divisibility of matter; and we think that the phenomena of the Universe are intelligible only by certain laws imposed upon that matter, by means of which laws, it is adapted to various organization and modes of exhibiting its being. For instance, a Galvanic action is annexed to Volition (see Warren on Life) 248 REVIEW.-Hinds's Rise and Progress of Christianity. [March, in animals; and in vegetables, the curious powers mentioned in our notice of the Foreign Review, No. V. We presume, that existence must be the first of all properties; that, if matter be infinitely divisible, infinitorum nulla sit ars, and that infinity can be predicated only of Deity. Upon these premises it is, that we can see no physical objection to Revelation, or to the Resurrection or Immortality of the Soul, or any other point of Christianity; for the physical truth is, that, although every thing may be mutable, nothing can be destructible. We refer our readers to the notice of the Foreign Review, No. V. before alluded to. (See our last, p. 145.) We have indulged in this preliminary discussion, because we conceive it utterly absurd to found Christianity upon abuse of the old Philosophers. It was not possible that Christianity could be a received doctrine, until the human mind was susceptible of abstraction, for it was by this preparatory illumination only, that the Gentiles so readily embraced the Gospel. See our author, pp. 44, 55. We are compelled to do injustice to numerous excellent works on Divinity (and this is one) for want of room, and a proper attention to the feelings of our general readers. It is a melancholy fact, that the public at large do not now consider Religion apart from a connection with parties or interests. Were truth alone regarded, many of these parties would cease to exist; but to be declinable in the singular number, is what every religionist abhors. We, not I, is only compatible with gregariousness and party; nor, to the philosopher is any fact more plain, than that every Protestant founder of a Sect, and every Romish Saint, claims not to be a Priest; but, in action, properties, and character, to be a Pagan Deity, one who dictates and assumes all the properties of a Numen. In short, the denominations of Polytheism may be altered; but the thing itself still exists in Great Britain, to the great disgust of Philosophers and Theologians, who look for, in Scripture only, the Divine Will," and walk humbly with their God. The work before us is a luminous one, we are happy to say, of a pure theological character. It is not one which professes to say, what Jupiter Calvin, or Apollo Socinus maintained, or any other such deities, but what was the actual meaning of the Divine Word. To aid us herein, the book abounds with satisfactory and valuable elucidations; and we shall make a few abstracts of some leading points of the Introduction, to show how much our readers may expect to be enlightened from the whole work. By the confusion of tongues at the Tower of Babel, our author (p. 4) understands a disagreement in worship rather than of speech. Polytheism, he says, did not originally imply a disbelief in the unity of God, neither any association with, or substitution for Jehovah, in the objects of false worship, such worship only commencing in superstitious regard for human ministers of good. He explains the depravation of heathen worship, by religion becoming liable to all the accidents and modifications of a mere human institution, when the worship of God was once transferred to his creatures. That we meet with mysteries, oracles, and trash of all kinds, in heathenism, is thus accounted for: "The wise men of old, comprehending the Magi, the Brachmans, the Druids, and even the far-famed sages of ancient Greece, exercised their reasoning powers but little, in investigating the truths of religion. They were occupied in perpetuating and expounding immemorial traditions, rather than in pursuing independent inquiries by the light of Nature. THEY WERE PRIESTS AND POLITICIANS, NOT PHILOSOPHERS." P. 29. It is further to be remembered, that Polytheism was favourable to the possible union of God and Man; and that it was not the doctrine of a Trinity that offended the Greeks, but Christ crucified (i. e. a God suffering death), and that the mistake of the Jews concerning the real character of Christ, originated in the adoption of the Alexandrian philosophy, and in the hypothesis that there was a secondary meaning in the Law and the Prophets. P. 52 seq. From these few specimens, we think that a just estimate may be formed of the enlightening character of this book. Mr. BRITTON has just published a new edition of The Picture of London; to which he has prefixed much new matter in the shape of an introduction. This embraces notices of the great improvements lately effected, or now in the course of prosecution, both for the embellishment and the The Arcana of Science and Art, for 1829, is the second volume of a judicious abridgment of the accounts of the most interesting and important novelties in Mechanics, Chemics, Natural History, Domestic Economy, &c. which have appeared in the Scientific Journals during the preceding year. They are selected and arranged by the very intelligent Editor of that popular Weekly Magazine, the Mirror; and are illustrated with 32 engravings. We trust that this more improved volume will meet with even better success than the first, BRITISH INSTITUTION. 249 which we take shame to ourselves for not noticing, and which we are glad to hear has gone through two extensive editions. The frontispiece to the present volume is a neat view of the University of London. We are not of opinion that Formularies of Devotion, drawn up by private individuals, will ever be so impressive and useful as prayers taken from the Liturgy, because that carries with it a character of holiness and authority, not to be surpassed. We have, however, no objection to the Formulary of Devotion for the Use of Schools, as to the composition of it, though we hope that it will not supersede the usual custom of employing the Morning and Evening Service of the Church for the devotional purposes alluded to. FINE ARTS. We shall now go through the catalogue, and notice the most attractive of the productions here before us. 2. Beatrice in the Arbour. H. Howard, R.A. Purchased by Lord Farnborough.— A very sweet picture, rich in colour and expression, but too gaudy. The peacock we do not admire: but the countenance of the ensnarer nearest to the arbour beautifully expresses the intentions of the party, and the watchful eagerness of Beatrice shows she is quite ou her guard. 3. The Prisoner. Thomas Webster. Purchased by his Majesty.-This admirable artist's Rebels shooting a Prisoner, and Rebels Defeated, have been engraved, and we have had occasion to pay them our meed of praise. This is a clever companion to them, being rich in humour, very correctly drawn, and judiciously coloured. It represents one of those unfortunates, who, from having indulged in too much sport at an improper time, or from not having been born with a common share of intellect, receives the reward of the paper cap, the reverse of the boasted cap of liberty, and is compelled to sit in stern and sullen dignity, whilst his school-fellows enjoy the sunshine and the sport with what appears to him a greater zest. This figure is really a clever production; it is admirably sketched; and so is that tantalizing urchin who appears leaning over the half-door of the village school, and attracting the notice of "the prisoner" by a blast of the horu of freedom. No. 4 is auother of Webster's, and is denominated, A Foraging Party routed. It is equally humourous and clever. A party have been laying siege to a well-stored pantry, and in the act of carrying off some of its contents, is assaulted by the good dame in downright GENT. MAG. March, 1829. earnest. One of them feels it impossible to escape from her grasp without leaving his scalp behind as a memento of her triumph, a thing he cannot reconcile himself to, while another one receives a "sound dressing," and a third, thinking that the greatest generalship consists in a clever retreat, is flying from the scene of action. There are two others of Mr.Webster's which we shall notice. They are 136, The Modern Diogenes, a third illustration of the sugar-hogshead incident; and 476, A Society of Antiquaries. This consists of two or three mischievous children and are not all children lovers of mischief-ransacking a collection of the old family dresses, &c. It might have been better called Masquerading; or indeed any other title. It reminded us of Hood's African Wreckers, in his "Whims and Oddities." No. 7. Cottage Scene in Sussex. P. Nasmyth. This is too muddy and botchy. 84. A View in Hampshire. 177. Landscape and Coltage. 273. Cottage Scenery in Sussex. 839. 475. Views near Christ Church. 364. A View at Sydenham. 453. A Heath Scene. 477. View near Copthorne, Sussex. These are all clever compositions. Nasmyth has studied Hobbima very closely, but he is not capable of imparting that softness, brilliancy, and nature which is observable in the vegetation of Hobbima. On the contrary he is too wiry with his pencil, and seems to paint with mudded colours. 10. Highlanders returning from Deer Stalking. E. Landseer, A.R.A.-It exhibits a highland pony loaded with the spoils, led by one of the hunters, and followed by dogs and some sportsmen. Landseer's animals are of the highest description; they possess an intellectuality we could scarcely imagine, and which places his productions in the highest scale of that branch of art. But we have some faults to find with this picture, The highlander with his sinewy arm over the neck of the pony is not correct in drawing; the neck is not low enough to allow of the human arm taking such an extension, unless indeed, our highland brethren are giants, and their horses mere month-old ponies. The hind legs of the deer across the back of the pony are considerably too long. It is, however, a most surprising picture; the costume of the sportsmen, the character of the country, the judicious introduction of the accessories, and the vividness of the colouring, have contributed to produce a very fine composition. There are three other subjects by the same master. 68. A Conversazione consists of a group of well-painted dogs in earnest debate about some affair of state policy -a brute emancipation perhaps. 231. A Deer just shot. Well painted and full of interest. But the most feeling of all his pieces is 256, The Poor Dog. What a lesson does this little picture offer to humanity! It represents that deep and powerful attachment which animals of this species sometimes entertain for a kind master, expressed in the most affecting way. His protector is dead, and with him all feeling seems buried. His meditative look and attitude powerfully rivet us to the scene. We fancy we hear him sighing the funeral dirge; and see the tears trickling down his face as he contemplates the place where they have laid him. 22. Scene on the Coast of Kent. W. ColJins, R.A.-Like all his pictures, beautifully painted, but similarly treated. 30. Town Hall of Louvain. D. Roberts. -A rich piece of architecture well drawn, and prettily coloured. His Chapel of the Virgin, Church of St. Pierre, at Caen, No. 355, is a splendid piece. The effect of the light is extremely good. 32. Italian Boy and Monkey. A. Morton-An attachment to the works of Murillo has enabled him to produce some very good characteristic portraits. The colouring partakes of the Fleinish school. This displays much of that arch simplicity, or peasant roguery, which beams in the countenances, and distinguishes the character of the poor Italian emigré. No. 6 is another specimen, accompanied by a dog. 324 is a A Beggar and his Daughter, by the same artist. 55. The Young Artist. Mrs. W. Carpenter. A very charming picture of a pretty little girl sketching the portrait of her dog. The colouring very good, and expression fine. 62. Battle of St. Vincent. G. Jones, R.A. -The period chosen is that when Commodore Nelson and Captain Berry led the boarders over the main chains, and on to the deck of the San Joseph, after having taken the San Nicholas, which lay between the "San Joseph" and "The Captain" (Nelson's ship). An officer of the Spanish ship appears on the poop, presenting his sword as [March, sigual of surrender. The boarders consist of a party of seamen from "The Captain," and a detachment of the 69th regiment serving as marines. A reinforcement of boarders is seen coming along the bowsprit of the Captain, and over the poop and deck of the captured Sau Nicholas. The great Nelson leads on the first boarders, and is represented coolly, firmly, and nervously, in the act of inflicting a deadly blow on one of the opposing Spaniards. It is a fine figure: all that great commander's soul being stamped upon his little face, till he starts before us a giant in army. This large picture was painted for the Governors of the British Institution, and is to be presented to the Royal Hospital at Greenwich, together with No. 156, His late Majesty presenting a Sword to Earl Howe, after the splendid victory of June 1, 1794, on board the Queen Charlotte, at Spithead, on the 26th of June. This is the production of H. P. Briggs, A.R.A., and, in our estimation the cleverest picture of the two. The most prominent figures are well executed, and the generally distribution of the characters and groups deserve praise. 56. Moon rising. F. Danby, A.R.A.— Such an extensive assemblage of mountains at such a time must be an appalling scene to the traveller. To the right appears the silver-lighted planet, rising and diffusing its tint to the summits of the mountains : above is the deep blue sky richly spangled with celestial diamonds: in the extreme distance is a volcano, whose crater exhibits evidences of an internal excitement; and in the foreground appear some prowling wolves and beasts of prey. The colouring is extremely good, and though perhaps extravagant, the celestial and the terrestial are well blended. Another of Danby's is 67, Sunset. Most of this artist's productions startle us with the effect of his colours, as well as the daring of his pencil. They are the results of a more than ordinary mind, intimately acquainted with the appearances and powers of nature. In his Sunset there is a breadth of colouring which may appear exaggerated, but those who have seen that orb retiring in the burning climes of the East, must admit that the tone of colour in the present picture is not so overcharged; and will see in the reflection upon the calm bosom of the ocean a beautiful accuracy. A gilded bark of the days of antiquity, with elevated stern and swan-like prow, appears crossing the waters to the beach, where sit two figures anxiously watching its progress. The sands on which they sit are well painted, and the shells, which are sparingly dispersed on its surface, have their gay colours brought out in happy contrast with the more quiet character of the shore. 78. The Hookah Bearer. H. Pickersgill. -A fine head of a black. 104 and 115. Fruit. G. Lance.-Two of the finest fruit pieces we ever remember see ing. The colouring is so accurate, the relief so striking and prominent, and the freshness of the fruit so luxuriant, that we could dwell upon it for hours together. The insects we would brush off as troublesome intruders; and some of the loose fruit we might be tempted to steal-but they would be missed so soon. In 115 the loose gooseberry absolutely rolls to us; and the fine clusters of grapes and full rich currants most temptingly invite destruction. They have been painted for his Majesty. 139. The false Parcel. W. Kidd.-Exhibits a good deal of humour. The mixture of curiosity, satisfaction, and slyness in the pedlar, about to pick up the parcel; and the stifling merriment of the tricksters above and around him, will excite much laughter. Mr. Kidd's style and manner we like very much, and his humour deserves praise, because it is not coarse nor grievously caricatured. He has one other piece, 456, The Artist, which is a particularly clever picture. 147. The Black Knight and the Clerk of Copmanhurst. H. Fradelle.-Very incorrect in the drawing: the Knight is an awkward figure, and the Clerk has a pair of legs larger than that of the colossal Hercules at Somerset House. 150. Auld Robin Gray. T. Knight.-A very fair way of exhibiting the subject of this pathetic ballad. The head of the unfortunate lassie, who is to sacrifice her own attachment for her parents' good, is exceedingly well painted; and so is "Auld Robin" in his simple wooing! 169. La Jeunesse. C.R. Parker.-A lively girl, full of spirits and happiness, sweetly executed. 181. Waiting for an Answer, and 87, Panoramic View from a Window. P.C. Wonder. It is a wonder how they gained adinission here. 200. A Sly Drop. S. A. Hart.-Clever. A boy taking a sly drop while his father sleeps. How anxiously he watches lest the sleeper should awake during the theft! 206. Dead Game. G. W. Novice.Though a novice in name and age, he is no novice in his profession. This is one of the most cleverly painted pieces in the exhibition every thing is so true: the mug is so finely finished as to be almost transparent. 209. The Surprise. W. A. Netscher.Very good, in the Dutch style; light, particularly effective. 221., Lavinia. S. Taylor.-A charmingly painted head of a lovely young female "with smiling patience in her looks." 232. A subject from Ovid's Metamorphoses. W. Etty, R.A.-Another of this artist's astonishingly luxuriant pictures. What a depth of feeling is expressed in those eyes! It represents a pair of lovely figures standing in the water embracing. The drawing excellent; the colouring very good; but the drapery is so cast as to be useless. 251 250. Opening of St. Katharine's Docks. W. J. Huggins.-A spirited and accurate representation of that interesting event. 254. John Soane, Esq. R.A. J. Jackson, R.A. This excellent portrait of a great artist and imaginative architect, was painted by order of the Directors of this Institution, as one of its most liberal benefactors. This is as it should be. 823. The interior of Muckebackete's, the fisherman's hut. Miss Ann Beaumont.-A very good illustration of a powerful scene in one of Sir Walter's novels. Elspeth dying : Jonathan Oldbuck, Captain MacIntyre, and Edie Ochiltree present. 340. The happy Man. G. Clint.-This is the second of the series mentioned by us in our Review of the Somerset House exhibition, and is equally as clever as the first. The "Happy Man" is the kind father just returned home from his work as his children are being washed to go to bed, one of whom he takes upon his knee, and looks at it with an affection that lights up his countenance, and diffuses a cheering influence over the whole group. The attentive mother looks on with a satisfaction that tells of "the happy wife" also; and the other children are delighted at the arrival of their good parent. A new hat is upon the table, and one of the children is eating cherries. It is a truly charming production, as well in feeling as in execution. This singular pair of subjects, though representing humble domestic life, may read a lesson and exhibit an example to many of the gay and dissipated loungers that crowd this gallery, to the annoyance of those who come to see and to admire-not to be seen and admired. 879. Rebecca, from the Romance of Ivanhoe. J. Boaden.-Not striking enough in the Jewish characteristics; otherwise, a well painted picture of a very intellectual face. 435. Trial of Charles the First in Westminster Hall.-A good historical picture, valuable for the spirit and fidelity of the portraits. The inoment chosen is the ill omen at the commencement of the Trial. As Cooke, the Solicitor-general, was beginning to open the pleadings, the King gently tapped him on the shoulder with his cane, crying Hold, hold!" At the same moment the silver head of the cane fell off, and rolled on the floor. 500. Hotspur and Fop. F. C. Lewis.-A very good picture, as far as its high situation will enable us to judge. The contempt of Hotspur, and the extreme of effeminacy in the Fop, are well represented. 504. Penning the Fold. A. Stannard.-Has much of the character of Rubens's landscapes. 509. Banditti of Kurdistan assisting Georgians in surprising and carrying off Circassian Women. G. Hayter, M.A.S.L.-The Kurdistans are a race of men whose trade is warfare, and who sell their services to any |