hopes of success. Captain Gray, of the royal African corps, is entrusted with the immediate charge of the expedition. He is represented as every, way qualified for solving this geographical enigma; he has been seven years in Africa, and is well acquainted with the Jaloff language. The route is to be that of the Gambia river, which he had already entered. By letters which have been received from this officer, it appears that his arrangements were nearly completed, and, what was of much consequence, his people all well, and in high spirits, notwithstanding the failure of former attempts. A transport had been dispatched to the Cape de Verd Islands, to procure horses and mules, the return of which was soon expected, when Captain Gray would directly commence his journey into the interior. The rainy season had terminated, and the weather was considered as favourable.

AMERICA.

The enormous sea serpent seems to have re-appeared. The Commercial Advertiser of June 9, contains a letter from the Captain of the brig Wilson, of Salem, bound to Norfolk, wherein he states that during his passage, off Cape Henry, he fell in with, as he supposed, the wreck of a vessel, when he ordered his boat to be lowered, but to his great astonishment he found it to be the Sea Serpent: he says he then examined it, and such an object he never before witnessed he believed it to be about

NEW CHURCHES.

[Aug. 1,

190 feet in length, and its mouth and head were of an enormous size. After returning to the ship, we bore off, fearing the consequences that might result from its coming in contact with the vessel.

The inhabitants of St. Lucia have discovered a most singular plant. In a cavern of that isle, near the sea, is a large basin, from 12 to 15 feet deep, the water of which is very brackish, and the bottom composed of rocks. From these at all times proceed certain substances, which present at first sight beautiful flowers, of a bright shining colour, and pretty nearly resembling our marigolds, only that their tint is more lively. These seeming flowers, on the approach of a hand or instrument, retire, like a snail, out of sight. On examining their substance closely, there appear in the middle of the disk four brown filaments, resembling spider's legs, which move round a kind of petals, with a pretty brisk and spontaneous motion. These legs have pincers to seize their prey; and upon seizing it the yellow petals immediately close, so that it cannot escape. Under this exterior of a flower is a brown stalk, of the bigness of a raven's quill, and which appears to be the body of some animal. It is probable that this strange creature lives on the spawn of fish and the marine insects thrown by the sea into the basin.

There are however similar appearances in St.Lucy's parish of Barbadoes of which a minute account may be seen in Hughes's history of that Island.

The recommendation of His Royal Highness the Prince Regent to build additional churches, embodied in his official speech from the throne, was a source of high gratification to all those who wish well to the cause of art in Britain, and created considerable interest amongst the professors of these arts, which are likely to be put in requisition when the proposed scheme is carried into execution: architects and sculptors hailed with rapture the opportunity which would hence be derived of exhibiting under the highest patronage the capabilities of their respective arts, and the unusual field which was thus opened for individual distinction. Since the Reformation, painters however have been debarred from any considerable

participation in the decoration of ecclesiastical edifices, and Mr. Haydon (decidedly one of the most promising of the present race) has manfully taken up the cudgels in maintenance of the right of his peculiar art, to a proportionate share in the embellishment of churches.

The same remonstrance was formerly made by Reynolds, who even attributes to this restriction the national paucity of historical composition; his words are these:-" Why religion should not appear pleasing and amiable in its appendages, why the house of God should not appear as well ornamented and as costly as any private house made for man, no good reason can, I believe, be assigned. The truth is acknowledged in regard to the external building, in Protestant as well as Roman Catholic countries,

Churches are always the most magnificent edifices in every city; and why the inside should not correspond with the exterior, in this and every other Protestant country, it would be difficult for Protestants to state any reasonable cause. Many other reasons have been assigned why history painting has never flourished in this country, but with such a reason at hand we need look no farther." It will be readily perceived that the discussion of this question involves some very delicate considerations; but we hesitate not to say, that Mr. Haydon has conducted it with equal intelligence and judgment; and we have rarely in so small a space met with so much sound argument and eloquent illustration. His address is written with all the ardour of a painter, but also with the argumentative discretion of a practised writer. The pamphlet commences by regretting that reformers on all occasions do too much, that in their zeal to abolish what is objectionable, they commonly obliterate in their indiscriminate sweep that also which is meritorious, and ought to be retained, simply because it is found in association with the subject of their reform. Mr. Haydon then asserts, and with perfect truth, that historical painting has never yet in this country met with due encouragement, nor even with the same share of patronage which has been bestowed on sculpture and architecture, and eloquently claims for it the support and encouragement of the higher powers. It is certainly extremely absurd, that when painted windows and altar-pieces are admitted, paintings of the highest order are excluded. A notion seems prevalent, which is only the result of prejudice and habit, that painting is more meretricious and gaudy than sculpture, and therefore that it is inadmissible in churches. But we would ask, is there any thing gaudy in the divine cartoons of Raphael? To place in a sacred edifice one of the glowing pictures of Rubens would be indecorous and injudicious, but not more so than the introduction of a statue of a dancing faun, or a bacchanalian procession in a basso relievo. The fact is, that an imbecile or ignorant artist may commit incongruities, and violate good taste, but the fault in such cases is divided between him and the persons who suffer such absurdities, and no part of it is attached to the art itself which has been prostituted. It is evident from the occasional admission of altar-pieces, that the dignitaries of the

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church have no objections to the presence of paintings; and all that is here sought is, that the new buildings should be so constructed as to be adapted to the reception of good pictures, and that painting should, as on the Continent, be allowed to go hand in hand with her. sister-arts in the embellishment of our temples. This partial acquiescence of the church authorities completely admits not only the innocence but the fitness of pictorial decoration; and we even consider that, under proper regulations, such a measure might be made conducive to the interests of our national religion. Sectarians of all classes study to render their places of worship attractive and inviting, whilst ours are dull gloomy and uninteresting except to the antiquary or the architect. Speaking of works of art, Mr. Haydon says;

"It is evident that the public halls, churches and cathedrals, are the only places fit for such works, and that the expulsion of painting from our churches, and the admission of sculpture, is partial and unjust; that no reason can be given why sculpture should be admitted to illustrate the actions of heroes in war, and why painting should be excluded, when it can so founder of christianity, and develope the ably exemplify the miracles of the divine moral obligations of his sublime religion.

Two objections are anticipated, but are completely refuted; the one with reference to the humidity of our climate which is more destructive to paintings than to marble, but this objection as is justly observed may easily be obviated by precautionary measures, such as wainscotting the walls and applying stoves, and the other with regard to the distressed state of the country, which is thus modestly and completely answered.

"If the distresses of the country were such, that nothing could be set aside for the ing would without remonstrance acquiesce encouragement of genius, of course paintin the general neglect; but as thousands have been and are yearly devoted by parliament for the protection of sculpture and architecture, it is only asked, if painting has not as strong a claim on the support of Parliament and the nation, both from the great power of the art, as well as from the insignificance of the sum required to assist it; that for this half century every assistance has been given to sculpture, while during that whole period, there is no instance of any public money having been voted to the aid of painting, and such protection is now only asked for this art, as has ever been afforded to the other arts, viz. to admit it. into churches, cathedrals, and public build

ings, where sculpture has been ever admitted, and to honour the country, where the country by painting has never yet been honoured, so that gigantic individual efforts may not be yearly made which are of no effect, and are forgotten as soon as the season is over, for want of a place of public reception; for all the works already produced, by which the country has been rescued from the stigma of incapacity and unjust doubts of its genius, have ever been the result of the enthusiasm of individuals who have devoted themselves with the spirit of the Decii; and though the historical painters are and ever will be ready so still to devote themselves, no blame ought surely to be attached to them for seizing every opportunity of a public nature to interest the nation in favour of that art, whose excellence all parties are forced to own is essential to its greatness, thus endeavouring to remove the needless obstructions from the path of the younger men who are rising, which all those who are established in the art have but too fatally experienced."

The greatest advantage may also be anticipated in another way from the adoption of this measure, we quote the words of Mr. Haydon.

"As a matter of art, it would correct the great fundamental and pernicious effects of exhibitions. Where a picture is bought or sold, as it happens, and then hurried into obscurity, no opportunity is ever given for candid, examination, nothing is left to time, its errors or its beauties are pressed on the people, according to the interests or enmities of those who conduct, or of those who oppose the society where it is exhibited; parties puff or censure, ridicule or praise, just as it suits, the whole town is in a whirl of feeling, and before any one has time to estimate with perspicuity, the exhibition closes, and the picture and the painter are remembered or forgotten, till a new season and a new subject obliterate the recollection of both while the public vote of parliament for a picture, as for a statue, would be sound, fair, public encouragement, and collect by degrees the accumulated talent of the country; the work would be for ever before the eye of the world, time would establish its reputation if it deserved it, or destroy it if it deserved it not; every man could always judge for himself, by a walk to the building where it might be hung, and England would have something to shew the foreigner, when he asks with a sneer, "where are your historical productions?" As this plan of art would be connected and grow out of a measure of absolute public utility, it could not have the effect of being pressed on the nation at an improper time, or of demanding money for itself alone.

There is, however, one point of view in which the question may be considered, which seems nearly to have escaped Mr.

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Haydon. We mean the advantage that sculpture and architecture will gain by the co-operation of painting. The sister arts are never so effective as when they advance together to the same object; the proverb vis unita fortior should never be forgotten, and if the suggestions in this admirable little pamphlet be properly estimated and acted upon, we are quite confident that an impulse will be given to the cause of art, which will in vigorate and inspire its professors, and essentially conduce to the glory and renown of Britain. We cannot avoid reciting the following impassioned and eloquent appeal in favour of his art, with which Mr. Haydon closes his performance :

There are some men too with icy hearts, who ask what is the use of poetry and painting? If the Great Being had deprived the world of all that was not absolutely useful or barely requisite to animal life, how few would have been the pleasures of creation?

mere existence seems all which the lowest animal is capable of enjoying; but the higher nature rises, till she ends in man, the more refined and the more numerous appear our sources of gratification; and if the scale of existence go gradually on, sensations of which we are now incapable, and objects of delight which now we can never know, are perhaps provided by the great and beneficent Creator. It appears, as far as we can dare enter into the thoughts of God, to be the intention of his goodness to clothe utility and things necessary with associations of delight and beauty, that is, to instruct by attraction. Are not poetry and painting imitations of this divine principle? Do they not encircle morality and virtue, illustrious arts and illustrious actors, in all the variety of verse and language, form and colour, magnificence and splendour? Do they not instruct by pleasing? Certainly; all our efforts seem useless and insignificant, when in moments of painful musing, one reflects on the inherent decay of nature, and the silent vastness of eter

nity! but because the works of creation are more sublime, we are not to consi der our own efforts as insignificant. It is our duty to better the condition of our species by a sound and sensible exercise of our faculties, however insignificant such efforts may seem to creatures of vaster being. If the little ant, who labours to drag his ear of corn to his winter heard, felt his insignificance as much as we do, he would laugh at his own weakness, muse on our superior

1818.]

power, relapse into indolence, and be starved before the winter is over. Such objections proceed from morbidity and dullness, which have no feeling beyond touch, no notion of good beyond per centage, and no apprehension of any refinement beyond the durability of matter. We must be great in painting or we shall be ever an inferior nation. All that can be done has been done by individuals, both patrons and painters; the impulse is now to be given by Government. If once it could be induced to expand its faculties, to be aware of the moral value of this glorious art; if once it could be induced to take it up as it took up the Elgin marbles, and form a committee for the consideration of its wants, a shock would be given, and its example followed throughout the country, as it has already been followed regarding sculpture.

Most earnestly and sincerely and eagerly do I entreat the committee, who have the arrangement of the building of churches, not to be indifferent to the religious value of the thing recom

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mended, not to yield to the vulgar prejudice of considering painting as a mere decoration, but to be aware that it is a high and a deep effort of intellect, the result of a combination of various powers the gift of the Deity, and in its exercise as capable of exciting pious sympathies as the roar of the organ, the inelodious harmony of human voices, or the solemn intonation of prayer. To consider if the thing be practicable and feasible, and if it be found so, not to relax from a just ardor till it be accomplished. I anxiously beg the Government to remember that the present Regency has been the most glorious for great deeds in the annals of England, and that they will not suffer it to pass off without adding the public encouragement of painting to the number. This has never yet been done by any Government, and it may be depended on that the first British ministry who have taste enough to begin it, will be ever remembered in the history of the country among its greatest benefactors. Let us do all we can do, and leave future ages only the honour of completion.

A Refutation of the Fallacies and Mis representations contained in a Pamph let entitled, " An Exposition of the New System of Musical Education" published by a Committee of Professors in London. By J. B. Logier, Inventor of the System.

Audi alteram partem is a maxim by which every candid mind should be governed. As we have entered so largely into the Committee's Pamphlet the last month, it is but just we should notice what Mr. Logier has to urge in his defence. He complains that every little foible which his adversaries have been able to lay hold of, either in himself or his friends, has been first distorted, and then placed in the most conspicuous point of view that the very buttons of his coat have been found matter of sufficient importance for the grave deliberation of the Committee that every advantage which experience has demonstrated to be produced by his mode of tuition, has been studiously deteriorated, or entirely suppressed-and that every hypothetical objection, which practice has absolutely disproved, has been magnified into pretended reality. He adds, "though in London, it is sufficiently known that the Committee is very far from being composed of Haydns or Mozarts, Clementis or Cramers; yet, unless the matter be duly explained, those who live at distance from the metropolis will hardly believe, that this imposing body is mostly made up of pianoforte teahcers, singing-masters, flute-playNEW MONTHLY MAG.No. 55.

into a London Committee look exceedingly formidable at a distance; but I will place the light in its proper place, and the size of the gentlemen will immediately appear."We cannot with any propriety go into the harsh and sarcastic description of the qualification of the various members which com

ers, and violin-players. All these moulded

pose the Committee; there are home thrusts at certain individuals. After having well bespattered these Committee-men, Mr. Lo gier exults, that men of such eminence in the different departments of their art as Messrs. J. B. Cramer, Bishop, Viotti, Weichsel,Spagnoletti, and Dizi,have not added their respectable names to the list of those who decry his system. A very pointed reply is given to the remark at p. 36 of the Committee's Pamphlet, where they exclaim," What individual lessons must be worth, when 20 are taught in two hours, we will not waste our time in calculating."

"Have a little patience," says Mr. Logier, " and I will shew you that these lessons are worth full as much as those you are in the habit of giving at your schools, and perhaps a little more. First, then, it is said, that half this class receive an hour's instruction in harmony, whilst the others receive individual lessons. Now, gentlemen, I hope you will do me the favour to grant, that the half of twenty is ten. If, therefore, whilst Mr. Webbe, Mr.Kalkbrenner, or myself is giving the lecture on harmony, the other two, with an able assistant, are giving individual lessons, it will be found by the commonest VOL. X. L