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Swedish minister at the Hague,) made him an annual present of a thousand florins, merely to be allowed the first choice of all his pictures painted within the year, paying for them afterwards their regular fixed price. The scale upon which he regulated the value of these does not appear exorbitant; being, it is said, an allowance only of twenty sous for each hour's labour. Another of. his pictures, the subject of which was, a woman, with a child on her knees, playing with a little girl, was purchased by the Dutch East India Company, and thought worthy to be made a present by them to Charles the second, as a congratulatory offering upon his return to take possession of the throne of England.

MONUMENT TO KING JAMES I.

IT appears that Charles I. had had some idea of erecting a monument for his father. In the lodgings of the warden of New College, Oxford, was a design for a mausoleum with arms, altar-tomb, columns and inscriptions in honour of that prince, dated 1630. It is certain King Charles had no less inclination for architecture than for the other arts. The intended palace at Whitehall would have been the most truly magnificent and beautiful fabric of any of the kind in Europe. His majesty did not send to Italy and Flanders for architects, as he

did for Albano and Vandyke; he had Inigo Jones, and under the direction of that genius the King erected the palace at Greenwich.

ARCHEOLOGY ILLUSTRATIVE OF ARCHITECTURE. WHEN Mr. Holdsworth, the celebrated archæologist, a friend of Pope and Spence, was at Rome, they found a vast piece of marble near the Forum Antonini, which had been part of the architrave of that building. It was the only piece of antiquity, says Mr. Holdsworth, that he ever met with, that might serve to illustrate a passage in Vitruvius; where he is speaking of a particular manner of disposing the roses on architraves.-Going to see it, he found the workman very busy sawing it out, like common marble, to repair the arch of Constantine, and after all the remonstrance he could make to Galileo the architect, and others, there was only a rose or two saved at last, and sent into the museum at the capitol.

SALVATOR ROSA'S RECEPTION AT FLorence.

THE departure of Salvator Rosa from Rome was an escape his arrival in Florence was a triumph. The Grand Duke and the princes of his house received him, not as an hireling, but, as one whose genius placed him beyond the possibility of dependence. An annual income was assigned to him during his residence in Florence, in the service of the Court, besides a stipulated price for each

of his pictures: and he was left perfectly unconstrained, and at liberty to paint for whom else he pleased.

CHARACTER OF BARRY.

BARRY, take him all in all, was certainly a man of very extraordinary powers of mind, with the clearest views of what ought to be the objects of art, but with a temper so irritable, and manners so brutal, as totally to destroy all chance of success, in any of his propositions for its benefit, and almost to render nugatory the strength of his understanding. In his earliest letters from Italy this irritability is very palpable, and what is extraordinary, he seems never to have had any distinct view how to ground himself in the fundamental parts of his profession, or to have had patience to be slow in acquiring knowledge before he attempted to be rapid in executing it. Of this defect Burke seemed aware, and cautioned him often in his letters. "Whatever you do, my dear Barry," says he, in one of them, "leave off sketching; study with a knife in your hand; I am convinced that exquisite masterly drawing, the glory of the great school, can only be acquired by particular studies, and not by general compositions." This sound advice of Burke seems to have been very little heeded by Barry. Judging by his works one would say, it was evident he never had dissected, and his power of drawing

was ignorant and inadequate; he knew scarcely a principle of the human figure, and so blind was he to his own deficiencies, that he asserts that "the Adelphi works possessed the castigated purity of Grecian outline, and would bear comparison with any work ancient or modern."

ANCIENT ROMAN

(Annals of the Fine Arts.)

COSTUME COLLECTED FROM

MEDALS, STATUES, &c.

THE ancient Romans went with their heads bare, as we see from ancient coins and statues, except at sacred rites, games, festivals, when on a journey, and in war. Hence of all the honours declared to Cæsar by the senate, he is said to have been chiefly pleased with that of always wearing a laurel crown, because it covered his baldness, which was reckoned a deformity among the Romans. They used, however, in the city, as a screen from the heat or the wind, to throw over their head the lappet of their toga, which they took off when they met any one to whom they were bound to show respect, as to the consuls, &c. The Romans veiled their heads at all sacred rites, but those of Saturn,-in cases of sudden and extreme danger, in grief or despair, as did likewise Cæsar, when assassinated in the senate-house; Pompey when slain in Egypt; Crassus when defeated by the Parthians; and Appius when he fled from the Forum. At games and

festivals the Romans wore a woollen cap or bonnet, called PILEUS, which was worn by slaves when made free, who from this circumstance were called Pileati. On journeys they used a round cap like a helmet, called GALERUS, or a broad brimmed hat called PETASUS, whence petasatus was used to denote preparing for a journey. Caligula allowed the use of the petasus in the theatre as a screen from the heat.

FEMALE SCULPTOR.

PROPERTIA DA Rossi, a female of Bologna of obscure birth, handled the chisel as a professional artist for emolument, and was extremely successful in her efforts. She united the delicacy of Praxiteles with the truth of Puget. In the Pontificate of Clement VII. she made several statues for the façade of San Petroni at Bologna; she was also a good painter, and an excellent engraver. Propertia became enamoured of a young artist, who did not make a suitable return to her love. This disap→ pointment threw her into a lingering disorder, which brought her to the grave. Her last work was a basso rilievo, representing the history of Joseph and Potiphar's wife. Her cruel lover was represented as Joseph; herself as the Egyptian queen. It is alleged to have been her best work, and may be truly said to have been executed con

amore.

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