quote a verse more applicable than ever, stands the God'dess of Love and Beauty ;

"So stands the Statue, which enchants the world.”'

Without making a common place eulogium on these arts which embellish and animate every country where they are cultivated; some of their advantages may be shewn incidentally, in a cursory consideration of the principal objections that have been sometimes made against their introduction here. These may be summarily stated under the following heads their tendency to corrupt society, our poverty, our want of taste, the absence of artists.

It has been said, that the arts have a tendency to corrupt morals and manners.-The most ancient of all trite sayings, is the one, that the abuse of a thing is no argument against the thing itself. To consider the arts as the cause of publick profligacy is to mistake effect for a cause. When society is diseased the Arts will feel the general influence, and accompany the progress of degradation; and if patrons call for Leda's and Danae's, the artists partaking of the common degeneracy, may comply with their wishes to avoid starvation. Such a state of things however will be rather retarded, than accelerated, by a liberal cultivation of the arts. The reproach against the arts is far less just in our own days; if modern times are as corrupt as former ones, they are certainly more refined, and violations of decency in any respect much less frequent. Of the great living artists, very few of them have used their talents but for the noblest purposes. With hardly an exception, the celebrated artists of the present day have devoted all their exertions to the treatment of the most elevated subjects of sacred and profane history. Besides, a powerful check might be provided, in every institution, for the encouragement of the arts, by withdrawing all countenance from those, who may deviate into the selection of improper subjects. It is quite unnecessary to say more on this point.

There is not wealth enough in the country.' In comparison with others, or in reference to our own situation, this is a great mistake. We are much wealthier than many countries, where the arts are cultivated to a great extent. The princely sums that have been sometimes paid for very celebrated works, have created a vague impression that

enormous wealth must be required. But these high prices are only paid on extraordinary occasions, and too often lavished with ignorant ostentation, on ancient works of doubtful merit, while living genius has been left to pine unheeded by the vain collector. It is however becoming the fashion in Europe to encourage contemporary talent, the worth of old pictures which had no other merit than that of being old, is now getting to its true level; and many enlightened amateurs have introduced the fashion of cherishing living artists. We may escape from the folly and injustice of collecting the trash of antiquity, and commence our institutions, at the favourable moment when fashion, as well as taste and feeling, have sanctioned the practice of supporting living merit. It would be sufficient at the outset, if the sum, though it is not large which is now expended, and mostly thrown away in works of art, should be devoted to purchase the productions of our own artists. A very considerable sum is expended in buying engravings that are worth nothing. In every house, in every parlour, there are pictures hanging on the walls, the glass and frames of which make them expensive ornaments, and which constitute their whole value. Much the largest portion of the engravings sent from Europe to this country, are utterly worthless. Engravings are divided into two classes, proofs and prints, the first four hundred copies are commonly considered as proofs and charged at double the price of the others. The prints of course are better i proportion as they are earlier impressions. Proofs of plates published in France and Italy may be known by the description of the picture being wanting, space at bottom is left blank, and are called by the French avant la lettre. In England proofs of modern engravings are distinguished by the letter being left unfinished, the outlines only being impressed. A large portion of the engravings that are sent to America are impressions that are taken from worn out plates, and if they can obtain for them the cost of the paper, and a trifle for striking them off, they are satisfied; such engravings have no value. The quantity is increasing every year, and how desirable it is that such importations should be discouraged, and the sums thus wasted, be directed to reward American artists. The purchase of inferiour engravings is a complete loss of the money paid for them. But in purchasing good pictures, a

the

real property is acquired, their value rather increases than diminishes with time.

'We have no taste for the Arts.' Suppose this was true, how is this taste to be acquired? It cannot come by inspiration: It can only be nourished by the sight of objects which will call it into action. Those who say we cannot encourage the arts, till we have acquired a taste for them, remind one of the fond mother who was anxious her son should learn to swim, but afraid he should go into the water. There is a great deal of affectation and pedantry among connoisseurs; but a power of perceiving harmony and beauty, in a greater or less degree, is given to all mankind, and though a just taste is seldom possessed intuitively, yet it is less difficult to be acquired, than is commonly imagined. It may require an artist, perhaps, to perceive all the difficulties that have been overcome, and all the skill which has been exerted in producing a finished specimen of art, yet every one may be able to enjoy all its beauties. But stronger ground may be taken: there is a very considerable degree of taste existing in our society. There are

many persons whom we should delight to name, who have cultivated drawing and painting with very considerable sucress; it would be one advantage attending the promotion of the arts here, that this most pleasing and interesting accomplishment would become more general. The pleasure of musick may be more lively, but it is evanescent; drawing is more quiet and more durable, it affords permanent memorials of our friends; the sounds which enchant us are dissipated in air, but the painting may recall affection to memory, long after the hand that executed it has mouldered into dust.

We have no artists.' Of all the objections that have been suggested, this is perhaps the most erroneous. A slight mention of some of the artists now on the spot, besides those who have sought abroad the encouragement they could not find at home; will shew that our capacity is much more extensive, than even some of those who wish well to the arts may have imagined.

This list will commence with Mr. Stuart, whose merit is too well known to require any praise of ours. As an historical portrait painter, he was before his return to this country, in the first rank of his profession in England, where that branch of the art was carried to the highest perfection, and where competition was of the most powerful kind. To

his admirable pencil posterity will be indebted for the portraits of those great men, who laid the foundations of the greatness of our country. Perhaps this veteran professor was never more successful, than in some of the portraits which he has painted the last year; may he long continue to multiply the fine productions of his pencil.

In naming Colonel Henry Sargent next, we should perhaps consider him rather as an amateur than a professional artist, since he paints but a few pictures. His last and greatest work, The Landing of the Forefathers, having been exposed for the gratification of the publick for several months, and being so fresh in its admiration, renders it unnecessary for us to say more.

Mr. Morse has recently returned here from England. His picture of the dying Hercules, which was shewn for a short time to the publick, had made his merit known in advance. This painting, and the model from which it was executed, acquired him great praise in England, and gave promise of his future distinction. Mr. Morse has aimed at the highest branch of his art; he has profited by the advice and profound science of Mr. Allston, and studied in England the works of the greatest masters of our own and former times. The scenery of Mount Oeta in his Hercules, would be sufficient to show that he possesses a poetick imagination; and his friends and the publick have a right to entertain the highest expectations of this accomplished young painter.

Mr. Stuart Newton is a young artist who has hitherto principally devoted himself to portrait painting, for which he appears to have a strong natural talent, which may one day qualify him to replace his celebrated uncle, mentioned at the head of this list. From a few sketches he has produced, and from his strong and quick perception of the various expressions of the human face, he would certainly succeed in other branches of the art; in cabinet pictures of familiar scenes, perhaps of all others the most popular; study and perseverance will ensure him success.

Mr. Penniman, from some sketches rather than finished pictures we have seen from his hand, has shewn what he is capable of doing if there was any encouragement; but when this was wanting, he pursued more mechanical branches of the art; painting military standards, masonick emblems, &c. which he executes with great neatness, and accuracy, and with talents capable of higher efforts.

Mr. Fisher is a young artist, who acquired his knowledge of colouring and drawing under Mr. Penniman, and who pursues the branch of cattle' and landscape painting. His delineations of the former have not only great, but surprising merit, when it is considered how little advantage he has had in seeing good pictures, and how little practice. Older artists might envy the force, the facility, the truth with which he delineates animals. His landscapes have also much merit. We predict without hesitation, that with studying nature, which will mature his taste, and perseverance in his present line, that he will attain the greatest eminence in his profession.

Mr. Tisdale, a miniature painter studied under Colonel Trumbull, and besides portraits, delineates small pictures of humorous and familiar character. From one or two specimens of this kind, we should suppose he would be very successful in subjects which employed most of the painters of the Flemish school.

Mr. Corny, an Italian, has resided here many years, and is well known as painter of marine subjects. His portraits of ships are remarkable for the accuracy and freshness of their delineation. In the Panoramick views of the actions at Plattsburg and on Lake Champlain, the first picture of the scenes, representing the squadrons coming into action, was not only distinguished for this talent of painting ships, but for the beauty of the surrounding scenery and back ground, which made it as a whole a most beautiful picture. In his particular department, he can hardly be surpassed.

Mr. Willard is a self-taught artist, who possesses a capacity for sculpture of no ordinary kind. He has lately been employed in carving the ornaments of two or three ships: among them the Courier and the Hindu, which have lately sailed from Boston. In viewing the freedom, the grace and harmonious design of these ornaments, it was impossible not to regret that his talents should not be exercised on more noble and durable materials. The gentlemen who patronized him in this way, have however rendered him a service, as it developes his ability, and gives him practice, but it may be hoped that he will be hereafter occupied in higher branches of sculpture. Besides these works, from looking * Some may object perhaps that carving in wood, is very different from sculpture in marble. A mere ordinary carver might be unsuccessful in marble, but real talent is wasted in working upon wood. The process