The Sun.
London, England, 1801-07-22 00:00:00

WEYMOUTH, jut 2O

, •
Yesterday evening we had a grand esplanade
beside the ROYAL FAMILY the Company consisted
of the Earl and Countess of UX BR I DGE and Baugh_
ter, Earl and Countess of Rossi, TN, Miss EltsK/NE
and the Hon. M.r.-EasKINE, the Countess of RAD-
iraa and her second Son the Hon. Mr, L. BOVVERIE,
Lord SOUTHAMPTON, Mr. Mrs. and Miss-Ros'E,
Mr. and Mrs. DRAX GROSVENOR, Mrs. DR,,,RE',
Mrs. GRANT, Generals GARTH and MANNERS,
CoIoneIs.FITZROY and CARTWRIGHT ; atter which
THEIR MAJESTIES and Nobility visited STACIE'S
Rooms' where ••they promenaded till half.past ten
O'clock.
This Morning the Krlslq and PRINCE ADOLPHtTS
bathed, also Her Ropd Highness PRINCESS Au.

•
At ten o'clock, the KING, QUEEN, andPRIN. •.
Crssts,'accompanied by Earls 1.7 x ER toce and
RossLirz, Viscount SU,DLEY, Ladies IZoLLE,
PAGET, and, NEALE, the Hon. Mrs. • GRANT,
Mrs. DRAK P, Mr. and Mrs. DRAx GRosvt.-
iNoa, and Miss t NE, went on board the Queen
Charlotte yacht, and on their arjpearnnee, tlfey
;.sere saluted by every Ship in the 14-arbour, Colonel
MANN!igGliAn's corps were drawn oat on th: book.. •
out, to pay their respeas •to their Sovereign, the
band playing .G9d rave tbe KiNge
PRINCE AUOLPHUS remained at the Lodge.
The. B6rkshire Militia had '.ra grand field (Inv,
they, went through their.-mailmuvres with great-
exadnesse

. .
This morning Mr. Mrs. and Miss Rbst left this
I)lace.

,Ye§tetday died; *-at Theobaid's Fii-E; Herts, aftei•
a few days. illness, Sir GLORGE WILL lAg Pars,
Cq?T, Barr.

13,R H R E 71E117..

,LECTURES ON PAINTING, DELIY,ERED AT THE
ROYAL ACADEMY, MARCH 1801,. BY HENRY
FUSELI, P. P. WITH ADDITIONAL OBSERVA-

TIO:43.AND NOTES.

Tat learning and
,critical sagacity of Mr. Fu_
sELI are so "conspicu6usly.sliewri in this Work, that
though it has already received the tribute of our
commendation, we 'consider it as...a duty we owe to
merit ro. recommend it particularly to the attention
of every Ryder :of taste, who must, .of course, be
an:dubs-to store his Mind with right principles on
the subject of the Arts. In the first of these Lee-
. tures;
,the Professor takes 'a view of the,History of
Painting from its origin in Greece„.'which he coil-.
sicier's as the legitimate parent of thiS,beautifia and
interesting art. His conjtdures on 'the mechanic
Froc6ss of the Art, are probably foundelon fa&
He divides this early history into three periods.:
that of Pr?paratievi, that of Ettablishment, and th:lt
of Refirement: The Professor, takes a view of the.
distinguished Artists of Greece, and examines their
charaderistic _merits. In the course of this examina..
.tion he displays great critical acumen, and-we shall
present our Readers with his Observations on a
celebrated Work of Antiquity, taken. from the first
of these Ledures, as a proof of the inaependence
of his judgment, as well as the soundness of his
taste.

"The decided forms of Parrhasius, Timanthes, the
Cythnian, his competitor for fame, attempted
,to
inspire with mind and to animate with passions.--
No of -antiquity is more celdbrat.cd than his
immolation of Iphigenia in Aulis, painted, as Quin_
titian informs us,- in contest .with Colotes, of Teas,
a painter and, sculi,tor from the School of Phidias ;,
crwAmc,l with viaory at its rival EhibitiOniancisince
the theme of unlimited praise frormthe orators and
historians of antiquity, though the solidity or justice
of their praise,' relatively to, our art; has been-qties.:,
tinned by Moslem criticism. Oh this subjeet, which
not only contains the gradaiiong of Affection, from.
the most, remote to. the closest link of :humanity,
%tit appears to Me to offer the fai"rest 'spscinien'ofthe
limits which the theory ofthe Antien is had ptescribe.d
to the expression of pashas, :I think it m/dary, the
more cireurostatltialiy to expatiate, .as :he
.cenAre
passed oti. the. method of Tiinahthes !Lis beeh'.§alio.
tioned by the.highest authority in- matters of art.—.
that of. your- late .Presiders,., in his eightll.-Discourse .
at the delivery. of the Acfdezik Prize, for the:b;st
PiEture-paintei from this very Subjea.
~.‘ Hofm, did .Timatithes treat ? Iphigenia, the
otdained h=, the Oracle, to be offered for the:'

success of the Greek -expedition against. troY.;
was represented standing ready for immolation
the Altar,. The, Priest, the instruments of death at
her side, and around her an 'assembly of, the most,
important azerits-orwitnesses of the terrible idlein.
pity, from Ulysses, whO had disengaged her.froni
the embraces of her Mother .at I'vlycen*, to her
nearest male relations, her uncle Menelaus, and her.
own father Agamemnon. Timanthes, say, Pliny
and Qt-iintilian, with surprizing ofphraSe,
when, in gradation he had consumed every image of:
grief within the •reach
_of art from the ontl.ippy •
Priest, to the Conscious: remorse of Ulysses,' and
frdm that to the pangs of kindred Sympathy in Me.
nelaus, unable, to expresS with dignity the _fathers-
' woe, threw a veil, or if a mantle over his
face. This mantle, the pivot of objedion,_ indis
criminately borrowed, as Might easily be supposed,
by all the coneurrents for the prize, gaverise to the
following-series criticisms
s
' Before- I conclude, I cannot avoid making one
observation .on the pietiires now before us. I "lave
observed, that every. c.tndidate has copied the cele-
br..ted invention of Timan:-.ll,es•in hiding the fate of
Agamempoir in his mantle ; indeed. such lavish enco._
rniums have been bestowed on this thought,. and that
too, by men of the highest character in critical
knowledge, Cicero, Qaintilian, Valerius Maxi_
noN, an Pliny, ankt-have been Since.re.echoed by:
a:most every modern that has written on the,.A rts,
that your adopting it can neitfter be saondered at
nor blamed. It -appears now- to be
.so much, con-
nefted with the*Subjed, that the, spectator would,
perhaps, be diSappointed, in -not finding Milted.
in .the piettire what' he always.united in his mind,
and -considered as indispensably belongingl. to the
.st bjed. But it may he observed, that those.
who praise this circumstance,, wexq pop Pain.
ters. They use it as an -illustration only of,
~their own art, it served their purpose, and it
was certainly not their business to enter into the
objedions that lie against it in another Art. I-fear
we have. but . very scanty means of exciting those

powers over the irnlinatita, which. make .so very
considerahle.,and retitled A part of Poetry. It. is a
doubt ivitli me whether we should even make the.
.attempt. The chief, if not:the only occasion which:
the Painter has.for this Artifice, .is, when the subleit
is. improper to, be more fully represented,-either for
the sake , c,f decency, or to avoid- what would be
disagreeable to 1i seen ; and this ii:riot ter raise or
lucrease the passions, which is the reason •that is
given this p for ra,nice, but on the:contrary, to. di;

nurasit their effea.
' Mr. Faiconet has observed-in.:a Note oin this
pftqsage in. his translation of rimy, that the cir.,
cumitzince
sof covering the; ace of Agamemnon;
was probably not in consetitiendc of .any fine. ima_
gination of the. Painter, which he considers as, a
discover), of the -Critics; but merely-copied from
the 'descriptionofibe.- Sacrifice, as' it is found, in
Euripides. :cc'' - 2' .
The words frOi which the PiCture is supposed. to
be taken, are that :;-.l,g•araernnon zany Iphigenia
advance towards
,the fatal Altar; .he groaned, he
turned aside his bead, he shed tears, and covered his
face with hi's robe.
Faleonet does not at 'all acquiesce in the praise
that is 'bestowed on.Timanthes, not only because it'
.is not his invention, 'but because he thinks. meanly
of this trick of concealing, except in instances of
blood, when the- objets would be too horrible to
he seen ;' hut says he, " in an. afilieted Father,

in a King, in Agamemnon, you who are a Painter,
conceal from' me the Most interesting circumstance,
and 'then put me off with -sophistry and -a veil.—
You are, he adds, a feeble Painter i'vithdut. resour-
ces ; you do nut know even those of your Art.
care not what veil is is, whether closed hands, arms
raised, or. any- other anion that conceals from me
the countenance of the Piero. -You, think of veiling
Agamemnon—you have unveiled your own igno-
rance." -

To what Fal&net has said; Ivgmay add that,
supposing this inethod. of —le.iiving the' expres-
sion of grief, to the imaginatidn; to be,' as-it was
thought to be, the invention of the Painter, and
.that 'it deserves. all the, praise that.has been
.given
it still it is a trick -tnat ;will serve but. once
whoever does it a -second time, will not only want
novelty, but be justly. suspeded.of using artifice to
evade difficulties.• If difficulties overcome -Make a
great part of the' merit of Art, difficulties evaded
can deserve but little commendation.'
To.-this string of. animadversions, of which
what belongs to the English critic, excels the flip,
pant petulance of the Frenchman's, sophistry, as
much as his infant Hercules in real maghitude the
ridictifous :Colossus of Peter the Great*, .1 subjoin,
with diffidence,
,the following observations •
'." The subject of Timanthes 'was the linmolation
of Iphigenia; Iphigenia was the principal figure,
and her form, her resignation, or her anguish, 'the
Painter's principal task ; the. figure_of Agamemnon,.
however important, -is merely accessary, and no
more necessary to 'make-the. subjeet a
.completely
tragic one; than that of Clytemnestra, the mother—
no more than. that of Priam,
,to impress us with_
syMpathy at the death'of Polyixena. It is therefore-
. a misnomer of the French critic, to call A.gainein-
non the.hero of the subjeel.
" Neither the French nor 'the English critic; ap.
pear. to me- to have comprehended the real motive
of Timanthes, as contained in. the words, decere,
. predignitate, and digve, in the passages of Tully,
Quintilian, and Pliny ; they ascribe to impotence
what was the forbearance of judgment ; Timanthes
felt like a- father : he did. not hide' th* face of Aga-
menu-ion, because it was biyZnd the • power of his
art, not because it was beyOrid' the p0..146i14,' 110
b'ec'ause it was
.beyond . the
.4.cgnit). of expre4Oß. ;
because the inspiring feature Of p'ateinal afte6tion at;,
that moment,` and the -adion, which of -neeessity'
must have accompanied it, w`ouid either have destroy„:
.ed the grandeur of the charader, and thesolemoity'of
:the scene, or subjeded the Paintef..with the majority.
of his,, judges, to_ the iitipotation.of
-a .Ist either ,have. represented' 'him in .teifs,',.or
convulsed at.thel4ll-"of datker, forgetting
the chief .in the. father: or . sht ,him -itbsorhed by.-.
despair, and in th'at. stam of srupefadion, which
;levels all features and deatlins i.pression:.. hlighc
indeed have chosen, a fourth mode-he Might have
exhibited him fainting and ;palsied in the..arrns.i of,
his 'attendants; and\ by this confusion of Male:apd,
female charader, merited the.aifilatise of every Wea-•

tre at- Faris. Bat
.Tima'nthsii,ad.loo true --a sense
of nature to expose a father's feelings, or to tear a
passion to -rags ; - nor had the creeks yet leitynt...of
Rome to steel the faee. If-he made Agammnon
keaf his calamity as a man, he made him also feel it
as a man, It .became the leader bl Greece to'sartc.'

don the ceremony with his prenee,. it did not be,
come the father to'see daughter beneath-the,dag-
gees point : ihe 'sirne r,hittwe that threW 11-•_real
mantle.over the face of Timoieon,: when Ilk 'assisted
at the punishment of his bro't'her, taught Tithan.
the& to throw an imagirrary one Oyer.tlie:-face of
Agememnon ; neither height nor depth, pneprigy
of expression was.his - • •
"The Critic grants that tile expedient of Timan-
.

tiles may be
,allowed in ' instances of blood,' -the
supported- asped of which would change a scene of
commiseration and lerror into one of aboniltrAtion
and horror,- which ought for ever. to. be „excluded
from the Province of .Art, of Poetry, as 'well as.
Painting : and would,not the face of Agamemnon,.
uncovered, have had this. effeet ? was not sthe'scene
he must have . witnessed a -.Scene of blood ? and
whose blood. was to 'be stied ? that bf his own
daughter-,--and what daughter. young, beautiful,
helpless, innocent, resigned--;-the very idea of, Ye.
signatinn .in such 't,iZtitn, must either have atled.
irresistibl), to procure: her: relief, or throWn al veil
over a father's face... -A manl who is determined to'
sport wit'at the expence of heart could'call
such an expedient ridiCttlous—t•-' as ridiculous,' Mr:
Falconet continues, as -a Poet would be, who' itta
patheqc7)ititation, ipStead of satisfYing my.eNpec-
tatir,,n,. to rui himself of •the businesS„_ sliduld, say,
that the,,senciments , of his hero. are so- far aboye
whatever:q4n,be on the occasion,, that, he shall
say nothint.' . • -
- -

" And'has not Homer,
.though he does not tell us
this, aEled.upciii..a similar principle. Has he rim;
When "Ulysses addresi4 Ajax in Hades, in' the' most
pathetic.iirld' cOkiliatory Manner, instead of fu iiish.,.
jog hint,,wrth.an. answer, made 'him remain ii in.
dignant sifence during the "address,, then turn his
step and staik.,away ?
,Has not the universal-voice of,
genuine
.Cilticism; with Longinus,' told us, and if
it had..not, would nut $-citure's
,oWn_vOiCe tell us,
that that silence Wd3 '''eharaaeristic, that, it 'pre.,
chided, inclUded, and soaring above all. inswer,.ton-
siined Ulysses for ever "tti a sense olipferiority •
Nor is it necessary •to render sucti'•,criiicisin
temptible, to mention the silence
or the Mahe of .lEschylus, who. w.as-introduced •
veiled, and contiinuedinril- during her presence. on •
the stage. . .• , •
Eut in hiding, Agamemnon's fates, •Timanthes..
losei.the h.onourof. invention, as he- is merely the
of Euripides, who did it I.iefore
" I am not prepared with chronolozic proofs to.
decide whether Euripidekor':Tiirw.nthes, who were
cotemporaries ,about the .pctiod, of the Peloponnew.
sian War, fell first
,on•this expedient, though the.
'silence of Pliny and Quintilian on that head,. seems
to be in favour of the. Painter, neither of whom
could be ignorant of the celebrated Drazia.of Euri-
pides, and would not willingly have suircred the
honour of this Master-stroke of an art they were so
much better acquainted with than Painting, to be .
* The egetstrian statue of Peter the-Great, at St.• Peters-
burgh, by Mr. Pakonet.

transferred to another from its real author, had.the
Poet's -claitn been prior : nor shall I urge that the
Picture of Timanthes -was crownfd with Vietoty by
those- who were in,daily habits• of assisting at. tile
Dramas of EuripideS, without having their, xerdia
impeached by Colotes or his friends, who Would not
have failed 'to avail themselves of so flagrant a proof
of inferiority, as the want of invention, in the work
of his rival. I shall only`, ask, Wliat is Invention 1
if it be the combinajton of the most important
mcnnent of a fact with
,the most varied efftCts of the
reigningpassion on
,the charaiters introduced.; • the
invention bf Timanthes consisted in chewing by the
gradation of that passion in the faces of . the assist-
ant mourners, the reason 'why ihiit of the pi'ivcipal
gat, (Wilt hid. This he performed, and this the Poet,
whether prior or subsequent, did not and could not
do, but left it with a silent appeal to our own mind
and fancy. The'cast of AgamerisnOri's features-might
be -guessed at from those of his -brother Menelaus,
' which. were shewn, but the -degree .of sympathy
which palpitated in:the breast, and agitated the fea-
tureS of the uncle, without destroying dignity,-fixed
the' limits of' pathos, whilst the pangs that rent
the heart, and convulsed or absorbed the features of
the father, • the prey of momentary despair and hor-,
ror, oVerleapt those limits, andcould only, have
shocked us by 'being admitted to our eye.
- ,l‘ In presuming to differ, on the propriety of this
, mode Of expression, in the PiCttire of Timanthes,
from the respeaable authority I have quoted, I am
- far from a wish to invalidate 'the equally pertinent
and acute remarks made on the danger of its imita-
tion,- though I am decidedly of opinion, _that it is
strictly within the limits of our art. If it be a trick,
.it is certainly one that has served more than once. We
find it achipted to express the grief of a- beautiful
female figure on a basso relies°, formerly in the
Palace 'Valle.= Rome, and preserved in the,Admi. -
randa of St. Bartoli ; it is used, though with his own
originality', by , Michael Angelo, in the figure of
Abijam, to mark unutterable woe.—Raphael, to
she that he thought it the best possible mode-of
:.eipressing remorse,. and the deepest sense of re-
,. petitance, borrowed it in the expidsion from Para.
di'se; nil... Moue. any alteration from Masaccio; 'and
-like him;, tuned Adam out with both his hands be,
fore his:face. And,hOw has he. represented Moses ,'
l'i3 the burning bush,- ;to express'the astonished awe
of human its, the visible.rresence of diiiine nature?
By a double repetitiOn of the same expedient, once
in tl4cilingPf a stanza, and again in the lOggia of
.the Vatican, with both his hands before his lace, or
rather, with his face immersed in his hands.. As
'We cannot susped, in the Matter of Expression, the
'"unworthy Motive of making Use of this mode, Mere-,
~ly ..to avoid ;1 difficulty, or to denote, the insupport-
able splendour of the vision, :which was so far from
being 'the case, that according: to the, sacred record,
tMosts stept out of his way to examine the ineffee-
;tual blaze,: lA,re, must. conclud, that Nature herself
.dielabed to..him this method as superior to all he
could ekpress-,by featUres ; and hat he recognised
the same diage.in MasacciO, -who can no More be
suppo'sed to have: be'en acquainted with the prece
dent of.Timanthes,. than-Shakespeare t6th that ' 4
Euripides, when he mane`Macduff draw his hat over:
'his face. ', ' - -f"

"Nlasactio and Raphael pro&ecleci on the 'prin.
cipie, Gherard Laires,e.eopied.only Theis-page of,Ti.l
manihes, and.lms perhaps, incurred by it the charge
of 11,. hat I.4ingiil:.:s-c,,11s Peii.enth.r3s, i.i6 the ill-timed
. - •
application of supreme pathos,to an inadequate
-call. .Agarnemnoff is introduced ecvering.this face
with his mantle, at the death ofPolyxena, the cap.
tine daughter of Priani,,laCrificed to the manes of
Achilles, her betrothed Lover, ^treacherously slain
in the midst of the Nuptial ceremony, by her bro-
.ther Paris; The death- of Pobrxena, ',cam 414ornis
fiad been. produaive of the greatest, disaster that
could .befal the Grecian Army, could not perhaps
provoke,- in its leader, emotions 'similar to' those
which he felt at that of his own. clatighter.; -it must
however .bc owned,- that the figure of the Chief is.
cq-ually dignified and pathetic, and that by the in..
troduaion.of the 'Spectre of 'Achilles at the immo-
lation of the damsel to his manes, the Artist's fancy
has,. in some degree, atoned for the want. of 'diseri.:.
mination in het 13‘rolessor."

STATE LOTTERY.

NOW -DRAWING.

- .An Express will arrive daily at the Ogee of
HoitNsßY and Co. No. i 6, Cornhill, with a regular
account of each Day's, Drawing, for the immediate
inspeaion of those who honour them with their
Comm-Ands; free of any expence whatever. Tickets,
Halves, Quarters, Eighths, and Sixteenths, will con_
antic onSalc;warnnted undrawn, during-the,-whole
-time of-the Drawing. .•

The astonishing flow of company every evening
to the Rpyal Amphitheatre, Westminster-Bridge,
evinces not only the sterling merits-Of the ch.:timing-
Paniomirae—Of the Fairy, or HarleqUin Prisoner,
:The inimitable'Speeiacle of British Glory in Vept,
the pleasing Ballerof the:Prize., or theiLittle•Tra.
ter, the superior excellence of the HorSeanship at
ibis place,.• With.the wonderful abilities of the Fly.'
jng Plienonienon,- but, the regret entertained by
every one than such Atnuerter,is shoiild-appear only
10-mbirtivrand two nights longer.

IVIActs.ETH, like nnany more, whose mind's dis-
eaSe is past the reach Of Medicipe, indignantly ex-
,when drugs 'were spoken of, "
physic to the dogs, I'll none on't." Thus, despe-
ration.ernhmes prejudice, and he who is lost to the
Physician's kid hitntelf,- precipitately consigns to
the sewer the whole Materia Medica. Rut turn.
ing to the other side, where .help is wisely sought
by those who need- it, and the of iete4 has not been
so mastered by his sufferings its to lose sight of hope,
and say, " All recipes are vain, and all prescrip_
tions bootless, .1 mu,t die."- To such, and such
the healing hand' may' be with confidence
'extended, and Death may -he deprived of viaims
daily, where Patients lose not confidence in iViedi-
tine. Tins; observation applies to the Valetudinary

of all descriptions,,,liut.tonone_so forcibly as
%ilk) feel. the-dire`ertiabf..Nlervons Diseas Di -
eaes, 411ich, if- riot,subitied, mast render, life a: •
burden, and its load of miseries insupportable.
to such sufferers, in faithful confidence of their re-
iief, we reconifnend that long:triexl, an rarely
ever-failini remedy, the BOTArric SYitup, or: the
NEltrous CORDIAL of the celebrated Btonum,
whose Cures have swelled our Papers so repeatedly,—
with strings of affidavits from multitudes restored;
and whose all-healing skill has not alone kept hoary
age froth paying long ago , the dibt they owed 'to
Nature ; but has likewise_ rescued thousands,- in the
flower of youth, frOm the dread blast of ‘‘ .
premattite;'' 'and felieitously saved them 'from an
untimely grave!