The Poetical Works of Sir William Jones, with the Life of the Author. 2 vols. fools cap 8vo. 10s. 6d. bis. POLITICS. Means adequate to the present Crisis and future Prosperity and Happiness of the Empire; or, Proposals for the proper Management of Public Affairs, and for procuring an immediate, advantageous, secure, and per. manent Peace. 53. A Letter addressed to Sir Francis Burdett, bart. on the Con uct which the Electors ought to pursue in the present awful Crisis. 6d. Two Dissertations on the Catholics; by a Clergyman. 12mɔ. 3s. bds. A Sequel to the Serious Examination into the Roman Catholic Claims; containing a more particular Enquiry into the Doctrines of Popery, as formerly held, and as now professed, with Remarks on some late Publicasions of Mr. Keogh, Mr. Quin, Sir John Throckmorton, and Dr. Millner; by the Rev. Thomas Le Masurier. 3s. The Groans of The Talents;" er, Private Sentiments on Public Occurrences; in a Series of Epistles from certain Ex Ministers to their Colleagues, most wonderfully intercepted. 3s. 6d. bds A Letter to the Right Hon. Charles Abbott, Speaker of the House of Commons in the late Parliament; by a Member of that Parlia. ment. 1s. A Letter to the Lord Bishop of Durham. - 23. Observations on the Catholic Bill. 1s. Suggestions arising from the Abolition of the Slave Trade for supplying the Demands of the West India Colonies, with Agriculture Labourers; by Robert Townsend Fauquhar, esq. 23. 64. Plain Facts; or, a Review of the Conduct of the late Ministers. 2s. 6d. Church, King, and Constitution, a Dialogue between Mr. John Bull, and Mr. Simon Weathercock 6d. A few Observations on the Danger of admitting Catholics into Offices, either Civil or Military, recommended to the Serious Cunsideration of all Parties; by a Magistrate of the County of Berks. 1s. 6d. THEOLOGY. A Short Epitome of the History and Doc rine of the Holy Bible; by Mis Wila, 1s. 6d. The Churchman's Remembrancer. Vol. 1, 10s. 6d. bds. Parochial Divinity; or, Sermons on various Subjects; by Charles Abbot, D.D. F R.S. 8vo. 9s. bds Lectures on Systematic Theology, and on Pulpit Eloquence by the late George Camp. bell, D.D. F.R.S. Ed. Seventy Sermons on the Doctrines and Duties of Christianity; by William Joy Young. 2 vols. 8vo. 14s. b s Sexaginta Conciones ad Filem et Usum Christian Religionis spectantes, nuvis typis accuratè Manuscripta imitantibus mandatæ, a Presbytero Ecclesiæ Anglicane composite; or, Sixty Sermons written by a Clergyman of the Established Church, printed in the manner of Manuscript, and done up separately for the Pulpit. 31. A Tour through Holland, along the Right and Lest Banks of the Rhine, to Dara stadt, in the Summer and Autumn of 1806, with numerous and beautiful Engravings; by Sir John Carr. 42s. 4to. bds. Journal of a Tour through Ireland; by Sir 10% 61. 8vo bds. Richard Colt Huare, bart. Travels in the Year 1806, from Italy to England through the Tyrol, syna, Bunemia, Galicia, Poland, and Livonia; con.aining the particulars of the Liberation or Mrs Spencer Smith, rom the hands of the French Police, and of her subsequent Flight through the Countries above-mentioned; eflected and written by the Marquis De Salvo, Member of the Academy of Sciences and Literature of Turin, &c. 7s. bds. The same work in Italian. 10s 6d. bas. such a production, and we are too well aware not to award its author all due praise; and we hope Mr. E. will be induced by the favourable reception of this Composition to continue to oblige the public with his labours. The Four Seasons," composed for the Pianoforte, and dedicated to Colonel Lord Blayney, by Signora Domenico Briseoli, Composer and Director of Music to the Louth Regiment, and Master of the Royal College of Pieta de Torckini of Naples 55. We find in " the Four Seasons" a cousiderable display of spirit, genius and variety. With the representation of Spring and Summer, we are particularly pleased. The music of the fields and woods is closely imitated, and the rural scenes and circumstances of both scasons acquainted with a force and justness that must both strike and deliglit every criti cal ear. Number VII. of RECREATION. Composed for the Piane-forte by Mr. Latour. 1s. 6d. This piece consists of the well-known air of Nobody's coming to woo" worked into a kind of rondo, and is heightened and embellished by a variety of fanciful and appropriate additions, which render it equally desirable with the previous numbers of this favourite and popular series of piano-forte exercises, and do much credit to Mr. Latour's taste and ingenuity. Le Retour de l'Eté, a favourite Divertimento for the Piano-forte, with an Accompaniment (ad libitum) for the German Flute or Violin. Composed by 7. Monro. 4s. Mr. Munro, the author of the admired pieces of Laura and Lenza, and the Dutchess of Bedford's Waltz, &c. has produced under the above title, a pleasingly varied, and well arranged exercise for the instrument for which it is designed. The whole is comprised in five movements which succeed each other with excellent effect, while the accompaniment is conducted with a taste and an ingenuity much above what we find in the common examples of the day. "My Mother," a Glee for Three Soprana Voices. Composed by J. H. Leffler. 21. Mr. Leffler has employed these interesting words in the formation of a piece of vocal harmony as agreeable as it is familiar. Considering the little latitude afforded for variety, the effect is as free from monotony as could well be expected; and at the same time, making due allowance for the compass within which the three parts were obliged to be confined, the construction of the harmony is not only fair, but ingenious. Two favourite Glees for Three Voices, with an Accompaniment for the Piano-forte. Camposed by Theodore Smith, Esq. 2s. We admire the ease of style and simplicity of construction by which these glees are characterized. We cannot, perhaps, say that the combination is every where of the first order, or wholly free from violations of the established laws of harmony; but taste and fancy have well compensated the little lapses of the ory, and the general effeet will be found highly gratifying to the lovers of this social and interesting, species of composi tion. March. The Duke of Bedford's Grand Slow and Quick These marches are distinguished by a This little exercise for the piano-forte and merits to be recommended to the atis of a pleasing and simple description, tention of all young practioners on that instrument. "The Tear," a favourite Song, sung by Min The melody of this little song, though not without some faults in its rhythm, is The passages are natural and connected, attractively and expressively conceived. and the accompaniment is castefully con structed. Six Divertimentos for the Piano-forte, with an Accompaniment for a German Flute. Com posed by J. Herring. 6s. These divertimentos are of that easy for juvenile practice; at the saine time simple cast, that particularly fits them they are conceived with that freedom and pleasantness of fancy that cannot fail to please the generality of hearers The passages lie favourably for the fin gers, and will be found very improving to the young student. "If it be Love," an Ariette, sung by Mrs. Vaughan at the Vocal Concerts, Hano er-square. Composed by J. F. Burrowes, 23. This song, the words of which are written by George Saville Carey, is not without merit. Some of the ideas are tasteful, and the expression is tolera bly appropriate; and if we cannot rank it with the first productions in its kind, neither should we, in candour, place it below mediocrity. "Love was a Little Blooming Boy,” a Ballad composed by Richard Light. 1 The words of this pleasing ballad are taken from Mrs. Robinson's novel of Angelina, and are here annexed to an agreeable and analogous melody. The pas sages are smooth, easy, and flowing, and the bass is chosen with judgment, MONTHLY RETROSPECT OF THE FINE ÁRTS. ** The Ufe of all New Prints, and Communications of Articles of Intelligence, are requested. THE EXHIBITION OF THE ROYAL ACADEMY. TH HIS is the thirty-ninth Exhibition, and in the rooms there are many good pictures; nine of them are by two celebrated artists lately deceased: when we inspect the works of a painter whose productions we have for several years held in high estimation, and reflect, that the mind which conceived them has quitted its earthly habitation; that the eye which distinguished the colours, and the hand which guided the pencil, are turning to dust, it creates sensations which will be conceived by those who have feeling, but cannot be described to those who have not, By the late JoHN OPIE, Esq. R.A. there are six portraits, all of which, more especially No. 161, The Duke of Gloster; No. 174, Mrs. Cary, Tor Abbey; and No. 284, The Reverend Samuel Purr, are highly creditable to his abilities, and his abilities, were in many particulars of the first order. By the late SAUREY GILPIN, Esq. R.A. there are three pictures, containing portraits of horses. No 333, denominated Duncan's Horses, prove the truth of a remark we made in last month's Retrospect, that Mr. Gilpin had a singular felicity transferring character to the head, &c. of his animals. B. WEST, R.A., has in this exhibition three pictures. No. 194. The sketch of a monument for perpetuating the memory of the late Lord Nelson. The sketches of the president of the Royal Academy, are invariably marked with genius, and display the land of a great master; yet, we think that putting a picture in a frame of marble itatuary-work, though it may be a novel idea, has not an agree able effect. But we survey with eager ness whatever tends to perpetuate the memory of this lamented hero, and forgive a picture being destitute of those attractions, which in less interesting subjects may be deemed essentials. No. 217, The Immortality of Nelson. This contains the picture part of the preceding sketch, painted in a larger size." No. 175. Paul and Barnabas rejecting the Jews, and receiving the Gentiles. The finished Study, from which the large picture was painted for his Majesty's Chapel at Windsor. A very fine composition, though the general effect is rather heavy. P. J. DE LOUTHERBOURG, B.A. This distinguished artist, and very splendid colourist, has exhibited four pictures, and they display the usual characteristics of his pencil-striking scenery, spirited delineation, and brilliant tints; but the Landscape, No. 25, though it represents a Summer's Evening, and in the South of France, is certainly too high coloured. It is hot! hot! hot!positively red hot. W. OWEN, R.A. In this exhibition there are ten of Mr. Owen's pictures. No. 82. A Portrait of Lord William Russell's youngest Daugh ter, is a most enchanting delineation: several of the others have great merit; but No. 168, a Girl at the Spring, though well painted, is we think from the same model that he has introduced in his fancy subjects for this three years at least, and is certainly over-coloured. R. WESTALL, R. A., has this year exhibited seven pictures, and they, as usual, beam with taste and talent. No. 687, Una, from Spenser's Fairy Queen, is a very fine pictures a 3 Q2 print of it, we believe Mr. Westall published some time since. No. 87, a Bucchante shping, displays great fancy and imagination. No. 159, Flora unveiled by the Zephyrs, is very brilliant, and rich in the colouring. Nos. 206, 211, 218, and 223,epresenting our late heroic and lamented Admiral Nelson in different situations, are extremely spirited and animated compositions. MR. THOMAS PHILLIPS, A. The portraits painted by this gentleman we have often noticed with approbation. The six which he has this year exhibited, display marks of great improvement. No. 103, a Portrait of the late Lord Thurlow, is entitled to a place in the very first class. It owes none of its attractions to glaring colours, but is finely conceived, and the clara scuro bold, simple, and unaffected. No 147, entitled The Blind Fidler, is the only picture which that extraordinary young artist, Mr. D. WILKIE, has in this Exhibition; and it is conceived and executed in a style which leads us to regret that there are not more. It is highly finished, without any appearance 1 of being laboured; and the story is so told as to interest the spectator in the scene Not attempting to allure the eye by glittering colours, the painter has displayed a genuine unadulterated representation of nature. The characters are admirably contrasted, and marked with a felicity of expression more strictly appropriate than has often been delineated, except in the works of the inimitable Hogarth. It has lately become a fashionable opinion among painters, that all pictures which are to be exhibited must be coloured above nature, to prevent their being either overborne by the works of others, or overlooked by the visitors in so large a room. This has sometimes led them into a meretricious colouring, in which, attempting to be splendidly attractive, they have become offensively gaudy. This picture proves the impropriety of any such systematic departure from truth, and we pe will impress upon the minds of our young artists the truth of an old proverb, "That all which gutters is not gold." By J. M. TURNER, R. A. there are two; the first, No. 135, the Catalogne describes to be a Country Blacksmith disputing upon the Price of Iron, and the Price churged to the Butcher for shoeing his Poncy. This is rather too much to express in picture, nor is it reasonable to expect that such a story should be clearly told on canvas. However, both this, and No. 162, representing the Sun rising through Vapour, and Fishermen cleaning and selling Fish, are admirably painted, but not the better for their resemblance to Dutch pictures, which Mr. Turner has no occasion to imitate. By Mr. A. W. DEVIS there are in this Exhibition four pictures; two extremely well-painted portraits, and two singularly curious delineations: No. 212, A Bre zier's Shop at Patna, in the East Indies; and No. 219, A Thrashing-floor in Asia, Mr. R. FREEBAIRNE has only one picture in this Exhibition, No. 29, Nep tune's Grotto, contiguous to Tivoli. This charming composition is conceiv ed with classical taste, and executed with competent skill, being chastely coloured, and highly finished. By Mr. J. SAXON, there are three extremely well-painted portraits, which, added to their other merits, are striking resemblances of the originals. No. 293 is A Portrait of Miss R. Boughton, as Lavinia; No. 318, A Portrait of Ri chard Phillips, esq.; No. 659, Portrait of Sir J. Curr. Mr S. DRUMMOND has exhibited se ven pictures; this gentleman's productions are generally entitled to hold a very respectable rank in the arts. No. 45, the Portrait of Mrs. Drummond, is extremely well painted; and so, indeed, are all the others. Different writers have alternately censured and praised Timmanthes for concealing the face of Agamemnon, a principal figure in one of his pictures; but in No. 191, Mr. Druinmond has painted a subject consisting of only four figures, and he has concealed the faces of every one of them. The picture, indeed, is taken from Ossian, and as Mr. Macpherson sometimes soars to such a height that his readers lose sight of him, bis painters may surely claim some portion of the poet's privi lege. By Mr. J. WARD, there are seven pietures; and we are sorry to see that be has fallen into the miserable affectation of giving his performances the sembiance of old paintings. As he is certainly a man of genius, it is much to be regretted that he should thus leave the worship of true nature, and bow down to the unclean idols. Let him leave such imitation to men of inferior ability; his talents qualify him to occupy higher ground. MR. G. ARNALD. This very pleasing artist has exhibited eight pictures, painted in a style that is Inghly creditable to his taste and talents, Disdaming the ineretricious glitter that wounds the eye in almost every direction, he gams his point by a chaste and judicious imitation of nature. No. 152, representing Sai ors disputing on naval Tactics, is not equal to the others. It does not seem to be a subject suited to his genius. By Mr. I. R. SMITH, there are three drawings that display his usual judge ment and taste. No. 415, entitled The Consent, Is a most fascinating composition. No. 446, representing on officer's lady, imagining she has descried the ship in which she expects the arrival of her husband, is conceived and delineated in a style that renders it in eminent degree interesting, and induces the spectator to participate in the feelings displayed in the portrait. Miss Emina Smith has five most beautiful drawings in watercolours. To pourtray whole-length figures in such a manner as to give the air of the person, with a correct resemblance of the features, demands more knowledge of the art, and more taste, than falls to the lot of inany miniature painters, but that knowledge, and that aste, Miss Smith has displayed in such, of these portraits as we have ever seen. Mr. I. BUCKLER, who has so eminently distinguished himself by his publication of several of our cathedrais, has in this exhibition four very capital drawings, representing those of Litchfield, and of Ely, As we happen to have seen both these fine remains of ancient architecture, it excited some surprise to observe, that by some unaccountable blunder in the Catalogue, No. 689, which is a very accurate delineation of the cathedral at Ely, is denominated Litchfield; and No. 412, which is a view of that at Litchfield, is baptized a View of Ely Cathedral. Such mistakes are unlucky, for they may sometimes lead a spectator who recollects only one of these buildings, to suppose the design is incorrect. Among other rising artists of eminence in landscape, it would be unjust to omit Mr. W. HAVELL: his two pictures have great merit. To give a catalogue of pictures that are injudiciously hung, might be deemed invidious; we are suscious that it is not easy to allot to every picture its proper situation; but surely such a landscape as Mr. Manskirk's, No. 478, represeating, 4 Wood Scene in Germany, might have been placed somewhat nearer the eye. The Society of Painters in Water-colours, now exhibit at the old Royal Academy Rooms in Pall-mall, near Carieton House; and, as we are informed, have sold the principal part of their pictures. To make a separate exhibition is a very good idea; for a small picture in water-colours, placed at the Royal Academy, next to an immensely large oilpicture, sometimes reminded the spectators of a giant and his dwarf, Such delineations as those of Mr. Havell glo ver, Varley, and indeed many others, who have united their productions to ornament these rooms, will always attract visitors, and command attention. We very much regret that our room does not permit us to citer into a particular detail of their separate merits. aro Among the new Prints lately published The Landing of the British Troops in Egypt, 8th March, 1801. The Battle of Alexandria, 21st March 1801. P. 3. de Loutherbourg, R. d. pinxt. A. Cardon sculpt, and publisher. Two very spirited chalk engravings from pictures exhibited at the Royal Academy. A Meeting of Connoiseurs. John Boydell Published for R. This whimsical composition represents a painter, making a delineation of the Apollo, from a clumsy, heavy, ill-inade Blackamoor, who is stripped as the mo del, and stands grasping a hair-broom as a substitute for a bow. The artist, who appears the most hungry figure of the party, and the connoiseurs, who are comparing the original with the copy, are variously marked; but the walls of a painter's room should have had some sort of pictures. Hogarth would have introduced something allusive to the group beneath. About this heathenish deity there have been various opinions: when Mr. West was a student at Home, some of his friends wished to see what cffect the first sight of the Apollo would have on the young American, and he ou seeing it, instantly exclaimed-“ howlike an Ame rican Mohawk!" We are told that a French |