the basis of the ideal in Art, and which whilst it combines the accuracy of representation with the truth of conception, expands the most common and vulgar object to the dignity of an Epic character. Elymas is here sui generis; he stands at the head of his class; he represents all blind men that went before him, and all blind men that will come after him. The general nature, and most minute pecularities of the blind man, are all em. bodied in this single character!-Not only his eyes; but his head, and the elevation of his countenance; his outstretched hands; his cautious step; his feet; the general position of his body,-in a word, every part about him is the member of a blind man alone! THIS Cartoon is a continuation of the miraculous scene which Paul and Barnabas had been acting in the temple, viz. the healing of the cripple. der, at the divine cure which had been The people of Lystra, struck with wonwrought before them, and in the immediate phrensy and unmeaning enthusiasm of Paganism, exclaim, that the "Gods had come down among them," and prepare to make instant sacrifices to their present The character of St. Paul, in this Cartoon divinities! The ox, decorated with garis finely distinguished from that of the same apostle in the Cartoon which represents ment, Paul and Barnabas interpose, delands, is led up to the altar; and, at this mohim preaching at Athens. Paul is not here the orator, but the claring who they were, and what was the avenger of God; he points with a consci-object of their mission, terrified least the ousness of superiority, and a divine, but calm austerity, towards the Sorcerer, whose impiety he had been compelled to punish. -There is nothing of undue passion or exultation in this character. pure and sacred doctrines of Christ should Paganism, and eager that their miracles be contaminated by the absurdities of should be referred to that Power alone from whom they had received authority to work them. In this Cartoon, the characteristics chief rous impulse of the men of Lystra, and the The terror of Sergius Paulus, and the astonishment of the surrounding group, are impressed with equal force by the divinely to be admired are the wild and barbapencil of this illustrious Master.-In truth, figure of the cripple in the front group, with the exception of the figure of Ana-whose garments is lifted up, in a suspicious nias, there is no character, in all the works of Raphael, so distinctly and sublimely rendered in all its parts, as the figure of the Sorcerer Elymas. No. VI. THE SACRIFICE TO PAUL AND BARNABAS. order to ascertain whether he were really manner, by a Pagan of wavering faith, in the person whom the apostles had previously healed. This figure serves in an admirable manner, to connect the story of the former Cartoon with that of the present. The figure of the man who is about to fell the victim is conceived with astonshing Acts of the Apostles Chap. XIV. Verses 11, 12, grandeur; in his countenance is expressed 13, 14. "And when the people saw what Paul had done, they lifted up their voices, saying, in the speech of Lycaonia, the gods are come down to us in the likeness of men. "And they called Barnabas, Jupiter, and Paul, Mercurius, because he was the chief speaker. "Then the priest of Jupiter, which was before their city, brought oxen and garlands unto the gates, and would have done sacrifice with the people. all the fury of a false zeal; and in his body, and the action of his arms, a steady and resolute vigour, which serves at once to mal the passions or his mind, and to display his prodigious strength. The distribution and the classing of the figures in this Cartoon, are no less admir able. It is Christianity first brought into contact with the wild fury and unthinking zeal of Paganism. At Athens, the attempt is made amongst philosophers; at Lystra, it is made among the multitude; the former reject it with the cold contempt and sullen arrogance of the stoical school; the latter awakened to its prodigious miracles and stupendous truths, are converts in the very moment in which they proceed to make their sacrifice; they are about to become the disciples of Jesus, in the very moment in which they are preparing their rites for Jupiter. History therefore tells us a truth, founded not less upon fact and experience, than upon the reasonableness and general course of the human passions. The philo. sophers of Athens remained Pagans; the Pagans of Lystra became Christians. "So, that when they had dined, Jesus saith to Simon Peter, Simon, son of Jonas, lovest thou me It is Christ risen from the dead, and become the "first fruits of them that sleep." The Christ, in the Cartoon of the Miraculons Draught of Fishes,', is a different character from what he appears at present. This figure cannot be described; it can only be felt. Suffice it to say, there is nothing corporeal, nothing of the grossness of the human form in our Saviour; it is an angelic nature, with a most divine and exalted beauty, and a delicacy which does not impair the grandeur of the figure, whilst it softens down every turn of the members, and chastens the flow of the transparent drapery. The next striking beauty in this Cartoon is a group of the disciples. They seem, as it were, all gathered together in the moment, without ceremony or preparation; they are inartificially luddled and grouped with that impulsive eagerness and curiosity which they naturally felt to hear the last commands of their divine master. There is nothing in composition more perfect than this group. It never was more than these? he saith unto him, Yea, Lord: excelled for simplicity, nature, and effect. thou knowest that I love thee. He said unto him, Feed my lambs. "He saith to him again the second time, Simon, son of Jonas, lovest thou me? He saith unto him, Yea, Lord; thou knowest that I love thee. He said unto him, Feed my sheep. "Ile said to him the third time, Simon, son of Jonas, lovest thou me? Peter was grieved because he said unto him the third time, Lovest thou me? And he said unto him, Lord, thou kowest all things; thou knowest that I love thee. Jesus saith unto him, Feed my sheep. In this Cartoon, that which is chiefly to be admired is the figure of our Saviour. It is no longer the earthly, the human Christ! Every character is distinct; each disciple is shadowed out by his peculiar traits, and, in his business and attention, he is marked with the most wonderful accuracy. The back-ground, and general scenery in which the subject of this Cartoon is cast, is in exact correspondence with the genius and predominating taste of Raphael. It is nature, quiet, local, and exhibiting the same appearances, as to the general scenery, which she might be conceived to have exhibited at the very spot in which this incident took place. There is no struggle for sublime or artificial landscape: the story wanted no setting off; no relief of this kind, PREFACE IN bringing another Volume of our Publication to a close, we are desirous to requite the extensive patronage we have met with, by a renewal of those exertions to conciliate public favour which, when conducted by zeal, and any tolerable judgment, are secure of their ultimate success. There is, however, an unavoidable sameness and monotony in a Periodical Work, (from its intrinsic nature and quality) which can only be overcome by a vigilance and resolution, which shall dictate such variations and amendments in its general plan, as the improvement of the national taste, and the progressive fluctuations of fashion may continue to prescribe. EXCELLENCE itself becomes tedious in a long course of the same thing, and a love of NOVELTY is no less the pride of reason than the passion of human nature. The Proprietors of Periodical Works are mostly deterred from these improvements, by the dread of new expences, and, frequently from that ungenerous avarice which checks the reins of liberality; which looks to its bond; and refuses to extend beyond its letter;-content, because compelled, to pay with JUSTICE; but never thinking of GENEROSITY. It is the pride, and he trusts the JUST FAME, of the Proprietor of this Work, that in his dealings with the world, through a long course of public life, he has never been suspected of wanting that liberality and commercial spirit, which requites the Patronage his various Works have received, by new and unwearied efforts,-efforts which he never suffers to slacken from a dread of fresh labour or new expences. The present Work, therefore, having been equally encouraged with those which the Proprietor has formerly produced, he feels himself called upon to act with the same spirit and liberality in the conduct and improvement of it; and for this purpose, to introduce some NEW DEPARTMENTS, and ADDITIONAL EMBELLISHMENTS which were not stipulated in his original engagement with the Public, and which he never gave his Subscribers any reason to expect. As these Decorations will be EXTRAORDINARY and ADDITIONAL, it is unneces sary to say, that the PRESENT QUANTITY will be continued, viz.-the PORTRAIT, the London and Parisian FASHIONS; the MUSIC; the PATTERN; and the customary quantity of Letter-press.-The additional ORNAMENTS will consist of ENGRAVINGS IN OUTLINE OF THE WORKS OF LIVING AND DECEASED BRITISH ARTISTS. The motive for this improvement is sufficiently obvious.-Something of the knowledge of CRITICISM, and of the qualities of an AMATEUR, is now become indispensable in an elegant and refined education.-Whatever may have been our ignorance in these studies formerly, we are now becoming a Nation of ARTISTS AND AMATEURS.-To understand, therefore, the merit and style of our BRITISH SCHOOL of PAINTING, is now expected from the polished of both sexes. The British Artists will doubtless be preferred in this Work; but we shall frequently give OUTLINES of the most celebrated Paintings of the ANCIENT MASTERS,-especially when they are confined to BRITISH COLLECTIONS; and more particularly when they are of a super-eminent reputation, and can be given in cOMPLETE SETS; of which a Specimen is now laid before the Public, in the SEVEN CARTOONS OF RAPHAEL IN THE PRESENT NUMBER. This will be sufficient to give a taste and knowledge of the Plan of OUTLINE EN GRAVINGS. The next Number will contain a correct and vigorous Outline of the celebrated Picture of the Death of General Wolfe, by B. WEST, Esq. President of the Royal Academy; copied from the original Picture in his own possession, and under his special superintendance. Every succeeding Number of the Magazine will contain an OUTLINE, executed in a similar manner, of some distinguished Historical Picture of a modern Artist; and the succeeding Supplements will contain WHOLE SETS of Engravings, either of ancient or deceased British Masters. A Set of HOGARTH's Marriage A-la-Mode is now in hand for the next Supple ment; and it is intended to comprehend all the Works of that celebrated Artist in this Magazine; in order that every thing introduced may be complete, and not left in an unbroken series. It is trusted that this will be esteemed an additional Embellishment of no ordinary value.—It is needless to say that a Periodical Work, of a similar sort with this, has never attempted any decoration of the like kind. It is intended, moveover, to introduce another material improvement in this Work, viz. COSTUMES OF EVERY NATION IN THE WORLD. They will be given in addition to the usual FASHIONS; and it is trusted their value will be sufficiently understood, when it is known what immense sums are daily demanded for publications of a similar kind, of which the Plates are not so well executed as those which will be given (as the Additional and Extraordinary Embellishments) in this Magazine. |