The National Register.
London, England, 1814-09-18 00:00:00

593

my own feelind,4 and the fceling4 of u.y forsign, :and ev::11 s:•ifte
French spectators, dimmiso both on r plem,nrk. and astoo.shructit at
such an extriiordinary exhibition. In tile, Cust the 11.111 s a'e
not embellished in such a style of magnificence as :,VCO:11e• the cote
bination wonlers which they contain ; the next place, they
are too gloomy ; anti in the third, the arrangrinent is extremely de-
fective. •

Soulpture and Architecture are sister arts ; to I
ry ougl;t to 1:o
inseparable;' the living forms of the former are in OW tograee awl
endven the palaces and temples of the latter. Besides, the E.eper rs
of Rome and tree lt! 1\C...e8 of Greece sat enthroned under cent:lms, or
stood eashrined in the midst of marble porticoes ; a fl .od (if light
burst from the domes over their heads, aid all the colours tif tinir-
ble gleamed from the pavement, and plAyell around their pedestals.
Thus encircled with light, and glory, and Lcauty, they alipearcd iu
ancient Athens and in modern Rome, each, accordieg to its tligety,
in its niche of honor, or in its separate temple, high above toe crowd,
and distinguished as much by its site as by it:. sleellenee.
" How degraded are the captive Gods and Emperors of the Lou-
vre? The floors are (often) flagged, the walls are pl.tsivred, ihe
ceilings arched, the windows rate ; a few scant,/ bea'ns just !:Lfi'e (nt
the lifeless forms. as if to show the palemr.:s of the marble. a;td the
confusion in which gods and animals, heroes and vases, historical
beings and mythological fables crowd around.
" The Laocoon anti the Apollo of Belvidere, it is true, occupy the
most distingnished place, each in its particular Hall; but the wav to
the Lattr is obstruete ! by a whole line of minor forms ; and in Ms
haste to contemplate the matchless groupe of the
.the spc e.
total stumbles upon the Venus de Medicis ! !
After some more obsvrvations, tending to censure the ar.
rangement of the rich specimens in the branch of sculliture
ct)ntained in the Louvre, the author proc;xds to sp,:ak of the
co'!ltclion of paintings.
" From the Halls of Statues a most magnificent flight of atone
steps, ad.woed by motile pill:errs, leads to the gallery of pit:ll:Hi.
The spectator hseeteis with a pleasure that increases as he passes
the indite saloon, servinv, a• an antiehatwier to toe Nia-eam; but
when he stands at its entrance. and beholds a gi!lery of I(J:tilt-en
hundred feet extending in immeastir,ible perspective tt,..fore tint', he
starts with surpri.e and admiration. variety of tiot• 'lei: in..
the sides, tee splendid glow of the 2;i.ti•34 above, the bllze that
breaks throttelt the lateen! windows, aid the te.npe.eil lights di it
fall from the roof, mingle. together in tht' perspective, an.: f.•; iii
most singular. and fascinating comhin.ition of
splendour and obscurity."

Ent in the Gallery of Pictures, as in tlir /1.3115 or Sta ' Pcs,
Mr Eus'ace discovers, wlth,,:nici, to delight, some:hint; still
.to condeain. It offends his eve, and even his serv=e jos-
Lice, to see " the glare and contortion of David's tignies
staring on the yery walk that disHriv the caliniless and tLe
t.e;)ose of Poussin's sceocry." Ije also finds a want of or&i.
methA in the distrioution of the paihtiot ; and 6E)-
serves that many splendid' objects, when united, c lipse ear h
othcr; and that masterpiece!:, placed in eontrAct, !mist lie-
ce.sa;-i y dazzle the eve and divide tin!. littentiini.
,herefo,e, which are emife,sed the .pecimens Of illy art,
ought to be placed seoarate, each in ;tf, a!).1, U 1-
der the intl.,ence of a light peculiai and with ;ll

its anpropriale accottL'.animet)t-:
Here, for ‘v;int I r:ioin, we fin(' .:•41.se1ve5 compe!le(l to
cloise our extra,_ ts for the present ; Nv:! .11:;11, however, coti•
t nue thtin next week, at;d :,••:11re our re tilers
Euscact-'s picture of the mo-
dern French.

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