the two sides of the fifth chapel on the right hand, the first representing the Martyrdom of St. Placido and St. Flavia, and the second a dead Christ, with the Virgin Mary swooning at his feet. Of these paintings Mengs particularly admires the head of St. Placido and the exquisite figure of the Magdalen in the last mentioned picture.

THE FLORENTINE BRUTUS, AND MICHAEL

ANGELO.

AT Florence there is an unfinished statue, by Michael Angelo, which it is erroneously supposed was intended for Marcus Brutus. It is a portrait of one of the Medici who assassinated his uncle, and was called the Florentine Brutus; but proving afterwards the oppressor, and not the liberator of his country, Michael Angelo laid aside the unfinished statue in disgust, and could never be prevailed on to complete it.

HOGARTH'S OPINION OF GENIUS.

"I KNOW of no such thing as genius," said Hogarth to Mr. Gilbert Cooper: "genius is nothing but labour and diligence."

W. VANDEVELDE, AND NAVAL CONNOISSEURS. WILLIAM VANDEVELDE, the younger, is distinguished as a most eminent painter of sea pieces. Having finished a painting for Charles II. of the junction of the English and French fleets at the Nore, when that monarch went to view them; two

commisioners of the Admiralty agreed to beg the picture of the King, then to cut it in two, and each to take a part. The painter, in whose presence they concluded this wise treaty, took away the picture and concealed it until the king's death, when he offered it to Bullfinch, the printseller, for eighty pounds. Bullfinch took time to consider, and returning to make the purchase, found the picture already sold for one hundred and thirty guineas.

COMPARISON BETWEEN ANCIENT AND MODERN

ARTISTS.

THE paintings of the antients are excellent for design, in the way of bassi relievi, but deficient in colouring. Their want of knowledge of chiaroscuro, and of variety in their colours, made them inferior in these respects; their design is juster, but often too stiff. Raffaelle made his drapery too stiff, by imitating the ancient sculpture, and Bernini, latterly, made the drapery of his statues too large, heavy, and unbecoming, by endeavouring to imitate the modern painters, particularly Rubens, in stone.

MORLAND'S PIGS.

THE latter part of George Morland's life was chiefly employed in painting familiar and common subjects, particularly pigs, asses, &c. and it has been too hastily concluded by some superficial connoisseurs that his talent was confined to such common objects. That Morland was the first that ever gave any de

gree of consequence to that bristled animal, which the Jews hold in abhorrence, as unclean, must be admitted; as also that no painter ever brought his pigs, sheep, or asses to so good a market as he did. Though it must be confessed, in justice to several, who are not painters, and who have no pretensions to any of the arts, save the art of getting money, that they have received more for one sow and a litter of pigs in the public market, than sometimes poor George did for a score of pictures, every one of which was better pork. The same melancholy fact is equally applicable to all his other subjects, high and low.

COLOSSAL BUST OF MEMNON.

WHETHER this beautiful fragment of Egyptian art be a part of the famous musical statue of Memnon or not, is no part of our present enquiries. It is a genuine work of Egyptian sculpture in their finest style, is a grand work of art, and is deposited in our national Museum. It was sent as a present to his Majesty when Regent, who gave it to the trustees of the British Museum for the use of our artists and amateurs, and for the gratification of the public.

This immense piece of sculpture is of red granite, consisting of one solid block, ten feet high from the breast to the top of the head, and weigh

ing upwards of twelve tons. The whole of the face is in the finest state of preservation, and is remarkably characteristic. The right ear and a part of the diadem is damaged, and a fragment which was broken off by the French engineers in their attempt to carry it off to France during their stay in Egypt under Buonaparte, has been skilfully joined, and is an historical document of no small importance. The excessive hardness of the material in which this highly finished work is sculptured, was evident from the labour it gave our English workmen only to sink the holes for the metal cramps which were necessary to join the fractured parts together.

The head is surmounted by an elegant and tasteful diadem, and the chin rests on a projection similar to what is often observed on other Egyptian

statues.

M. Rigaud, one of the French savans of the Egyptian institute, in his report on their proceedings, says that the principal monuments found on the left bank of the Nile, and the only ones which can reasonably be supposed to have depended on Thebes, are the Memnonium or palace of Memnon, Medinet-Abou, another palace, and the two colossal statues so celebrated for their prodigious height. The Memnonium faces the east ; in one of its courts are seen the remains of the celebrated statue of red