4. At Linlithgow, Mary Martin, relict of Alexander Jamieson, in the 99th year of her age. Retaining to her latest moments the entire possession of her mental faculties, she was endeared to all who knew her, by a cheerfulness of manners rarely retained to such an age, and afforded a striking example of what piety can do to alleviate the infirmities of old age.

At Edinburgh, David Pringle, son of the late James Pringle, Esq. Lampikewells.

At Coldrain, Robert Greig, Esq. of Coldrain.

5. At his house, Broughton Street, Edinburgh, Mr Thomas Goodsir.

At Bellfield, in the 86th year of his age, Mr James Stalker, who long enjoyed the highest celebrity as a teacher of English in the city of Edinburgh. In his character were strikingly exemplified the domestic and social virtues. His piety to God was unostentatious, and his love to his friends without dissimulation. All who knew him will be ready to inscribe on his tomb, "Here lies an honest man.'

11. At his house, Manchester Square, London, Robert Dalrymple, Esq.

At his house, Stockbridge, Edinburgh, Mr William Neaves, writer.

12. At her house, in Curzon Street, May Fair, London, the Countess Dowager of Essex, in her 87th year.

At Spring Garden, Alicia Sophia Baird, youngest daughter of Sir James G. Baird of Saughtonhall, Bart.

In Frederick Street, Edinburgh, Agnes, only daughter of the late Dr Alexander Murray, Professor of Oriental Languages in the University of Edinburgh.

13. John Hunter, Esq. Vice-Admiral of the Red, in the 83d year of his age.

At No. 13, St Andrew's Square, Miss Anne Cramond Boswell, youngest daughter of the late Dr Boswell, physician in Edinburgh.

At her house, Pitt Street, Edinburgh, Mrs Christian Baird, relict of Mr George Callender, surveyor in Edinburgh.

14. At Johnshaven, Mrs Isabella Milne, in her 91st year.

Esq.

At Gilmore Hill, Robert Bogle,

At Earlstoun, Mrs Johnston, widow of the Rev. Laurence Johnston, minister of that parish.

15. At Edinburgh, the Hon. Mary Duncan, youngest daughter of Viscount Duncan.

16. At his house in Lauriston Place,

9. At his seat at Ham House, near Richmond, the Right Hon. Wilbraham Tollemache, Earl of Dysart, Viscount Huntingtower, Lord High Steward of Ips, wich, &c.

At Paris, Major-General Randolph Mariott.

At Farr, Inverness-shire, James MacIntosh, Esq. of Farr, in the 89th year of his age, and one of the oldest Justices of the Peace in that county-a gentleman highly distinguished for soundness of judgment and upright conduct. In private life, the warmth and sincerity of his friendship, the benevolence and generosity of his heart, his social manners, his liberality of mind, and his unbounded hospitality, gained him universal esteem. After returning from a long residence abroad, his principal delight

At Belmont Place, Kelso, John Broomfield, Esq. of Belmount Farm, Berwickshire.

-At Stratford Place, London, Lieutenant-Colonel P. Douglas, late of the Hon. East India Company's Service on the Bengal Establishment.

17. At Elm House, Haddington, of apoplexy, James Cockburn, Esq. in his 68th year.

25. At Edinburgh, James Bonar, EsqSolicitor of Excise.

28. At Whitburn Inn, Berwickshire, after a few hours illness, Samuel Anderson, Esq. of Rowchester and Moredun, banker in Edinburgh.

April 2. At his house, St Andrew's Square, Edinburgh, James Gregory, M. D. Professor of the Practice of Physic in the University of Edinburgh.

Arctic Regions.

493

in 1745 and 1746, by the Chevalier de Johnstone. (Continued.) Remarks on Fisher's Voyage to the

ON THE EXHIBITION OF MODERN

PAINTINGS.

WHEN the Institution for the Encouragement of the Fine Arts was first commenced in this city, three years ago, we ventured to predict that it would produce most salutary effects upon the progress of art, and the improvement of public taste. The concentration of the greatest works of ancient genius which the country could exhibit in one gallery, was better fitted, we observed, than any other plan that could be adopted, to improve the taste of the inhabitants of this city; and promised, if continued for a sufficient length of time, to compensate in some measure to our people for the remoteness of their situation, and their distance from the places where the finest models of art are preserved.

Of the truth of these observations, the short experience which has already taken place, has furnished very satisfactory proof. No person can have attended to the taste of the higher and middling classes in this city, and which is perhaps of more importance to the increasing pleasure which they derive from the Fine Arts, without perceiving that there is a remarkable increase, within these few years, in the taste for such productions. Without pretending to affirm that they have attained the refine ment in this particular which characterizes other states, where the models of art have long existed, and where no virtues of a severer and more import

• See Number for April 1819.

ant kind occupy the attention of the people, it may safely be affirmed, that, on comparing the national taste as it at present stands, with what it was within our own recollection, the step which has been made is very great.

4

The advantages which attend an Exhibition of Ancient and Modern Paintings seem to be chiefly three.

In the first place, it presents models of excellence to form the taste and rouse the emulation of our artists. The importance of such an acquisition is incalculable. How rich soever the country may be in the works of art, they are placed in such remote situations, and at such a distance from each other, that they can contribute but little to the improvement of the artist. His funds are seldom equal to the expensive journeys which are requisite, in order to see the collections of paintings at the country seats of their different proprietors; and when that is surmounted, the transient visit of a few hours is incapable of imbuing his mind with that vivid perception of the grand and the beautiful which the habitual contemplation of works of excellence can alone confer. The residence of our landed proprietors in the country, amidst many and important benefits, has been attended with this one injurions consequence, that, by separating the collections of paintings from each other, and rendering them in a great degree inaccessible to artists, it has prolonged the period of barbarous taste, in this country, at a time when, in every other branch of improvement, it had surpassed all

other states. This great disadvantage the annual exhibition of the works of art, by the institution which has lately been formed, is well calculated to remove, and promises, by affording at least one gallery in which the models of ancient excellence may be studied by our artists, to awaken them by degrees to a conception of the capabilities and excellence of their art.

In the next place, it tends to improve and purify the taste of the public. There is but one way in which either individuals or nations can acquire a refined taste in the Fine Arts, or even become capable of appreciating their beauties; and that is, by contemplating the works in which excellence has been attained. The greatest genius, and the most delicate taste, are incapable of perceiving or feeling the excellencies of art, unless a previous acquaintance with similar productions has awakened the mind to a sense of the objects to which it is directed, the limits within which it is circumscribed, and the emotions it is intended to awaken. To many, indeed, the advantages of foreign travelling communicate this new sense, of which their contemporaries at home are almost entirely destitute; but, as this is an advantage which lies within the reach of a small proportion only of the intelligent part of the community, the national taste never can be formed on such a basis. It is by works of art at home, continually presented to the eye, and forming the subject of habitual admiration, that the taste of every people is formed. The taste of the Athenian people grew up amid the beauties of Architecture and Sculpture which were assembled on the Acropolis,and the refinement of the inodern Italian taste has arisen in conse quence of the inimitable relics which survived the destruction of the Roman empire, and the excellence of modern art to which their study has given birth. The same cause will, without doubt, operate, and to a certain extent has already operated, in this city. But until this most desirable consequence has fully taken effect, it is in vain to expect that any eminent school of painting can arise amongst us. It is the warmth of public admiration which animates, and the correctness of public taste which chastens, an artist. Without numerous and wealthy purchasers, his genius nrust languish,

or be diverted to more profitable purposes;-without a discriminating public to praise his beauties and censure his defects, he will seldom either improve the one or avoid the other. The Institution for the Encouragement of the Fine Arts, therefore, has adopted the only method by which it is possible to form a school of painting in this country, by furnishing the means of spreading a taste for the beauties, and a sense of the defects, of the art, amongst the intelligent and respectable classes of the community.

A third effect which may be expeeted from this institution is, that it will gradually correct the vanity which early excellence is so apt to produce, and stimulate our artists to unceasing exertions, in order to rival and excel those great masters whose works are placed before their eyes. This, though a less obvious, is not a less important consequence than either of the preceding. That the genius which is fitted to attain to excellence in the fine arts, is nearly allied to vanity, or rather, that the sensibility of mind which qualifies men to attain such excellence, exposes them also to this defect, is a truth which has been known in all ages. If this disposition went no farther than to render the individual vain of his own productions, it would be a subject of amusement rather than serious thought; but, unfortunately, it produces the most ruinous effects upon the progress of art. An artist whose early productions bear some marks of talent, and who, by a thorough discipline and education, might possibly arrive at the height of his profession, is irrecoverably destroyed by imagining that he has now attained to perfection when he is only emerging out of mediocrity. Compared with the rude and barbarous works which are executed by other artists around him, his works may, indeed, be excellent; but, compared with the great works of ancient masters, they are as nothing. But, unfortunately, the wretched productions of inferior artists are around him, and accessible to every one, while the great models of art are in distant countries, and known only to a few individuals. Hence he becomes elated with his own proficiency, and looking to the distance at which he has left those behind him, instead of the space he has to measure before he