I begin then, my dear Matilda, with the definition of that branch of knowledge which I intend to explain to you. Perspective is the science of those geometrical proportions by which the distance and inclination of any object or objects may be accurately represented on a superficies.

ing of the arts, shall be the first mathematical study to which I will engage you. Is it not time, my dear Matilda, that the pencil which in your hands possesses such powers, and which has been permitted to rove at large over flowers and landscapes in so beautiful but so wild a manner, should become acquainted with those laws of proportion to which it owes its excelence? Nothing that is justly admirable in painting can originate from yourself, unless you are perfectly versed in this geometrical theory, and in the practical rules derived therefrom; without this knowledge you must submit to be the humble copyist, and even that superiority of tint which practice has enabled you to bestowpendent of substance, but the substance or thickupon your beautiful copies will not save you from the degradation.

That I may support my observations, and engage your attention by that form of language in which you delight and excel, I here transcribe the lines of a Gentleman of my acquaintance :

ON PERSPECTIVE.

Ere fair perspective's gentle laws were known,
Would bold design his daring forms display,
In colours brighter than the robes of May;
Yet without order was his tablet strewn,
Nor were the tender mists of distance shewn,

Nor objects less'ning thro' the length'ning way,
But as in dazzling nocn's solstitial ray,
Delug'd with waves of light, the uncertain land-
scape shone.

'Twas then geometry, dark, thoughtful sage, Sent from his cell recluse, his loveliest child, Perspective, who had oft his toils beguil'd;

For she alone could to soft cares engage
His anxious mind, what time fair nature smil'd,
And would, with mimic scenes, his tedious fore
assuage.

Straight in proportions just the objects rise,
The long receding vista slowly fades
In the far, faint horizon, while the shades
Of intermingled columns with surprize
Rivet upon one plane th' admirer's eyes,

As if a real distance did pervade

The portico, the less'ning spire, the glade, Woods and receding hills that melt into the skies.

But ah! too like her sire, the nymph unlov'd, Wander'd, while lawless scenes usurp'd her name: Nor knew she where she might protection claim, Till sense and taste in Oxford's figure moved. Then felt her bosom hope's enlivening flame, That art would keep her laws, by beauty's lips approv'd.*

These lines are the production of Mr. Noble, author of Amphion, the Dawn of Peace, and varous other poems, and were sent by him to the

The superficies on which the delineation is to be made, is called the plane of the picture: for it is generally a flat, smooth surface, as canvass, paper, &c. And here, my dear niece, I would have you consider the idea of a plane independent of the substance to which it is attached. Not that a surface or plane can ever exist inde

ness may be of no consequence in comparison with the surface. Thus, when I commend the beautiful polish of a mahogany table, the idea of its solidity is not in my mind: the plane surface alone occupies my attention. It is in the same manner that I shall frequently speak of certain perspective planes, without any reference to thickness. It will also be necessary sometimes for me to speak of lines, in which length only is considered, without any regard either to width or thickness; and of points, which are frequently denoted by dots, but which have in reality no sensible representation, being the extremities or boundaries of lines, and therefore without length, width, or thickness. These abstract ideas of points, lines, and surfaces, are very simple; but if you do not perfectly comprehend them at first, do not fatigue your imagination with endeavouring to do so; for almost every difficulty in the theory of geometry becomes lessened by the actual practice.

I suppose that you are acquainted with that manner of taking views which is practised by many artists who have but little knowledge of perspective. As the manner to which I allude will serve to illustrate the principles of this science, I shall here describe it, particularly as I believe you have the apparatus which it requires, and will therefore more easily comprehend my references. A frame of plate glass, covered with a thin layer of isinglass to render it capable of being drawn upon is fixed upon a stand, and the eye being always kept at the same distance from it, and at the same point, the forms of the objects seen through it may be traced accurately upon the plane surface of the isinglass. † You

Countess of Oxford, with a copy of his Work on Perspective, lately published by Orme, Bond

street.

This instrument is represented by plate 1, and will be easily understood on the slightest observation: the position of the delineator in it is supposed to be much elevated.

FINE ARTS.

A BRIEF ACCOUNT OF THE BRITISH INSTITUTION FOR PROMOTING THE FINE ARTS IN THE UNITED KINGDOM.

The splendid assemblage of British art, which forms the first exhibition in the gallery of the institution, has burst upon the public eye with a magical force of effect. A provident principle of the institution permitting those works which had passed in the reviews of former annual exhibitions of the Royal Academy, and others, down to those of the preceding year, some works even of deceased artists, but more of living ones,

THIS important and excellent establishment was founded June 14th, 1805; pictures, &c. were received into its gallery January 18th, 1806, and on the 17th of February the exhibition and sale of those works of art, the productions of British artists, natives of, or resident in, the United Kingdom, was opened to the public, under the gracious auspices of his Majesty as Patron, his Royal Highness the Prince of Wales Vice-Patron, and the Earl of Dartmouth Pre-which have not yet found purchasers, are again

sident.

brought before the public, in conjunction with numerous others, prepared by the first masters, purposely to form this magnificent national spectacle, so highly honourable to their talents, and so gratifying to the public feeling.

It cannot but have struck the spectators of our annual exhibitions, that in a mixed assemblage of dissimilar objects, of which they are formed, it is next to an impossibility that historical representation should have a chance of being contemplated with that care and attention requisite to the forming a just conception of the combinations required to produce a work of merit in this highest of the walks of art, whose province it is not only to please, but also to instruct.Placed in contact with the portrait of a British beauty, or the figure of a distinguished military or naval character, a West, or a Barry, may pass unnoticed, unseen, and forgotten, but for the

The first object of this institution is to improve and reward the talents of the artists of the British school, to stimulate their exertions in the higher and intellectual departments of the arts in historical and landscape painting, in sculpture, and in modelling. It is conceived that such an institution is of peculiar importance to the nation at large at this present moment, when efforts are making in different parts of Europe to promote the arts of design by great national establishments, and thereby to wrest from us those advantages in manufactures and commerce, which can only be retained by a preeminence in the fine arts. This pre-eminence, however, cannot be retained but by the assiduous I cultivation of those arts. If we do not advance we must recede; and when we cease to improve we shall begin to degenerate. In a country where native energy is most abundant, pro-rank their names raight hold in the catalogues. fessional taste and talent, and national patronage should no longer be confined to inferior objects; our artists should be encouraged to direct their attention to higher and nobler attainments; to paint the mind and assions of man, to de picture his sympathies and affections, and to illustrate the great events which have been recorded in the history of the world.

And thus the high and important office of the art in its province of instruction is rendered a non-entity, a thing unknown and unfelt. In the exhibition now before the public, all obstructions of that nature are removed. History presents her august form undisturbed by irre levant objects, and with a dignity her own, tells her tale of joy or sorrow, of ancient or of modern With a view to these important objects this lore, in a language adapted to the feelings of institution has been formed by some of the most ail, and which he who runs may read. Mind dignified and enlightened characters in the and sentiment pervading every object presented United Kingdom, by whom a purchase has been to our view, not a picture but is a lessen of remade of the premises late the Shakespeare Gal-flection, not an object but challenges our taste, lery, Pall-mall, which have been fitted up with a degree of appropriate elegance becoming the elevated rank of the noble founders and the importance of the object of their exalted pa-assemble, augurs much of glory to the protronage.

and demands our approbation.

The raising of this standard, around which, as to a rallying point, the arts have been invited to

fessors, and more of honour to the illustrious

of the noblemen and gentlemen who are of the classes of hereditary governors, having subscribed one hundred guineas, and of life go-eligible to be received and exhibited in the vernors having subscribed fifty guineas in one British Gallery, if approved of by the committee sum. A committee of visitors of the same numof directors. ber and order of subscribers form also a branch of No deduction whatsoever is made on any the establishment; together with a treasurer, secretary, and keeper, with an adequate number of picture, or other work of art, sold in this gal necessary servants. As soon as it may be found lery; nor on the sale of any picture, &c. can expedient, application will be made to his Ma-they be removed till the close of the exhibition. jesty for a charter of incorporation for the in

The amount of the sale of pictures in the space of twenty-three days, which, to the writing of this article, is the whole of the time the exhibition has been open, and during a very inclement season, is 11277.-March 15, 1806.

Subscriptions to the British Institution are received at the following bankers:-Messrs. Coutts and Co.; Messrs. Down, Thornton, and Co.; Messrs. Goslings, Sharp, and Co; Messrs. Hammersleys and Co.; Messrs. Hoares; Messrs. Praeds, Digby, and Co.; and Messrs. Ransom,

Annual subscribers of three guineas have per- Morland, and Co. Pall-inall. sonal admission, with one friend, daily.

POETRY,

ORIGINAL AND SELECT.