ing the mafk of friendship and good-will. This figure of peace, therefore, reprefents murder in difguife. The moral is as infamous as the defign. 211. Emancipation of Negro Slaves.-A transparent painting, evidently done to produce a mere temporary effect, and prettily coloured, ad captandum vulgus, but the piece has not been laboured with that fteady perfeverance and care which are neceffary to insure an artist's reputation. 212. A Methodist imploring Heaven to enflave Mankind. Piety is in this piece moft ludicrously burlesqued. 213. Shepherds finging Pfalms. The poor fheep do not feem to have been in any manner attended to, as they are apparently dying of the rot. The following lines of Milton, may, perhaps, be applicable to this picture: "Of other care they little reck'ning make, Blind mouths! that scarce themselves know how to hold That to the faithful herdman's art belongs! What reeks it them? What heed they? They are fped, And when they lift, their lean and flashy fongs Grate on their fcrannal pipes of wretched straw; The hungry Sheep look up, and are not fed, But fwoln with wind, and the rank mift they draw, Befides what the grim wolf with privy paw Daily devours apace, and nothing fed." 214. A Weathercock in a whirlwind. It is here impoffible to form any idea what the artist means. SEVENTH DAY'S SALE. Mr. GRAME, Montrose. 215. Mafter Shallow. A very lively representation of thiswell known dramatic character. 216. Sincerity. A feeble attempt in very weak water colours. M. M. BELGROVE, Grofvenor Place. 217. A fackdaw. Incomparably well painted. 218. A Peacock. Looks very proud and foolish. Mr. BLACKFORD, Hinton. 219. A gentleman at Coventry. The back ground infamous. Mr. RICHARD HELSEY, Upper Harley-ftreet. 220. A grand Inquifitor. This picture is in the obfolete ftyle of Cimaboe, who flourished just before the revival of the arts. There is a monkish gloom about it, that difgufts; befides it wants that ftrength of light which fo eminently diftinguishes our beft modern productions. 221. Burning of Heretics, being a representation of an Auto-da-Fe-defigned with fome fpirit, but this mafter is not equal to the execution. 222. Turks forcing chriftian flaves to go to Mofque. This is a whimsical performance. The Turks are violating every law of the koran, are drinking wine, and indulging themselves in all the beaftliness of vice, while the poor christian slaves (who appear to have more need of food than prayer) are ftripped, and fcourged, and compelled to cry Alla! Alla! 223. Devotion. This artift conceives that the pure character of holiness may be expreffed by lengthening out the visage, and turning up the whites of the eyes. 224. Models of Churches, built in the dark ages. This ftyle of architecture is much too Gothic, Sombre, and ill proprtioned, to be again adopted at the conclufion of the eighteenth century. Mr. WARTON, Beverley. 225. Shearing a Hog, great Cry and little Wool. Contemptible. This artift does not feem to have..... made up his mind to his Profeffion. 226. A Snail. The drawing in of the horns of this reptile is very naturally delineated, but the fubject fcarce deferves criticism.. N3 227. Will 227. Will o' the Wifp. The illufive luftre not amifs. Mr. BANNASTER, Liverpool. 228. Ancient Piftol. There is nothing of the ancient difcernable in this picture, but the fomewhat boaftful expreffion of the mouth; for the figure clearly denotes manly fortitude, and generous intrepidity. 229. A good fellow. Cheerfulnefs, conviviality, liberality, and fpirit, pleasingly characterized. 230. African Slaves. Here this mafter fails; it is feriously to be lamented that he does not relinquish fuch fubjects as they tend to injure his reputation. Mr. SURLOW, Norwood. 231. A Bear with a fore head. The grumbling of the beaft is finely given: the obferver may almost fancy he hears him growl. 232. Adam turned out of Paradife. Though Adam has left Paradife it does not appear that he was fent away naked; for he feems to be well cloathed, and well fed. The fine expreffion, which diftinguishes a ftate of innocence, is gone-nor is it poffible now to suppose him faying, "When I forget Paradife may Heaven forget me." The figure is coarse and brutal. 233. A Canterbury tale. A most disgraceful performance. Mr. NUGENT, Temple. 234. A Back Stair, Cafe. A dark piece of business altogether. 235. Pompofity. Inimitably ridiculous. 236. An Irish duft. This artift may claim all the merit of the originality of this defign. The execution is wonderful; for a finer duft never has been kicked up any where. Mr. PEPPER, Haflings. 237. Statue of Demofthenes-in black marble. The expreffion of the countenance is uncommonly mean; but this perhaps may be owing, in fome degree, to the nofe being defective. The fpirit of the orator is totally wanting, and, indeed, he feems now to be learn ing to speak with stones in his mouth. The head is very bad indeed. 238. A tame Jackall. The docile character of this animal is well expreffed. It appears capable of fetching and carrying, and playing all the tricks of a dog; yet the savagenefs of its nature is still difcernable. Mr. WHITEBREDE, Bedford. 239. The Horrors of War. A very animated compofition. This mafter has great excellence in his defigns, and poffeffes confiderable ability. Mr. LENOX, Richmond. 240. Plans of various Fortifications. Very foolish plans. The painter knows nothing of the art which he means to illustrate. 241. Uncle Toby riding his Hobby Horfe. The Hobby Horse is tolerably well hit off; but the character of Uncle Taby is not all preferved. Inftead of fimplicity, philanthropy, courage, gentleness, and honour, this figure evidently fhews meannefs, avarice, selfishness, arrogance, and cruelty. 242. The Garden of Reform. This landscape, which certainly does more credit to the artist's talents than any one he has ever produced, is left unfinifhed; and he now declares his utter deteftation of the fubject. He is, nevertheless, so tenacious of his original defign, that he has abfolutely thrown an honeft man into prifon, for merely taking a copy of the drawing. 243. An Extortioner felling coals to the poor. The unfeeling rapacity of the extortioner is ftrongly marked. An immenfe multitude are paying him a guinea each. The number of the crowd gives a difgraceful effect to the whole compofition. They apparently, The Computed by their pecks of coals, "Amount to Twenty Thousand souls!” 244. A Nobleman on a King's Birth-Day. Noble man feems to be highly gratified by a piece of blue ribband, which he wears acrofs his fhoulder. Yet the countenance is expreffive of careless contempt, as though he were faying, "What care I for a King's Birth Day! This artist wants confiftency of style. CANTOS ON THE REPRESENTATION OF VORTIGERN CANTO I. The iron cheft, I trust, Is laid to reft, And ruft; And in it Vortigern Might find a worthy urn, Where foul, and body too (now dead and damn'd), May both be ftew'd, and boil'd, and stuff'd, and cramm'd; Thence never more to budge, Or bellow forth again his old-trunk fudge; Patch work moft vile, of fhreds and remnant's made, From Richard's regal robe, and Macbeth's belted plaid. This play was call'd a tragedy-fo deep, That no one hearing it could chufe but weep; But tragi-comedy 'twas deem'd, I ween, When Phillimore, Like a great boar Rolling on earth, with his huge frout, was feen, At fight of this all prefent cry'd-with laughter, Of which no more must now be faid, But that's no reason for not giving Whitfield led on, and fill'd the poft of danger, When, |