## *Prospectus*

OF THE

### BRITISH SCHOOL

IT is universally acknowledged, that whatever tends to raise the intellectual powers of man, depreffes his grosser nature, and advances his moral purposes; and, if its means abound in delight, as they will be the more reforted to, so will they be the more fucceſſul in the attainment of their objeſt: ſuch are the Arts upon which this institution is founded; and it is MIND, that emanation of divine intelligence! which dignifies the professor, and raises his vocation above that of the mechanic.

It were a difgrace, therefore, in these times of taſte and improvement, to a British Empire, that the fine arts, the brightest ornaments of a poſſed nation! ſhould lie neglected, while thofe of the mechanic are ſo juſtly appreciated and en

PROSPECTUS OF THE

6

couraged. It cannot be that they require less fof-
tering than arts which have the necessity of man
for their parents; for it is to high cultivation and
refinement they owe their growth: it cannot be
that they are less worthy of attention, though of
less urgency, since the mind, which is meliorated
by taste, is seldom overrun with the rankness of
vice; the softer virtues are planted there; it is the
garden of elegance and sensibility, where true po-
liteness blossoms into humanity, and the adoration
of our Maker flourishes.

These are the moral effects of a refined taste; and
if we descend to the physical, the political, the
commercial, and the private benefits resulting from
a cultivation of the liberal arts, we shall not find
them departing, in either respect, from a just claim
to the title of utility.

To nations arrived at any great pitch of opulence
and power, it becomes a matter of policy to direct
its riches to the purposes of art and excellence, as
the most effectual means of restraining the sensual
inclinations of society, and guiding them to the
best of ends. This seems, indeed, to be the

BRITISH SCHOOL.

7

spontaneous effort of Nature to preserve empires
from the attacks of voluptuouseffets; and it is not
necessary to advert to instances in which luxury,
the usual concomitant of riches and power, has
overturned nations deficient in these arts; nor are
examples wanting in which the most famed and
lasting empires have been those in which a just
taste has been cultivated. This principle more
particularly demands the attention of ourselves, who
are placed under a peculiar constitution of govern-
ment founded upon the wiser and juster bafis, such
as being un-enfeebled by luxury, may bid defiance to
the attacks of the world, and the ravages of
time; while the nation, inhabited as it is by a
brave, opulent, and enlightened people, entertain-
ing a taste for whatever can dignify, humanize, or
adorn, may hand down to the latest periods a fame
as great for the fine arts, as that it has acquired by
its science, its government, and its arms.

If such great, moral, and political benefits result
from a cultivation of the imitative arts, it must
afford an exalted gratification to the philanthropist,
the true patriot, and the artist, to see their produc-

PROSPECTUS OF THE

tions, as it were, multiplied by the art of engraving,
spread in the remoteft countries, and delivered
down to future ages; and a ſchool of Engravers has
fprung up amongſt us of unprecedented perfec-
tion, which has contributed new and honorable
means of productive riches and commerce to this
country: indeed a refined taſte, like the beams of
the fun, caſts a luftre upon all around it; nor is
there an art, ſcience, or manufacture, however in-
confiderable, which does not derive ſome benefit
from its influence.

Were we even to regard the fine arts as mere
amufement, ſtill would they deferve our ſupport:
the mind of man muſt be recreated and unbent
from labour, care, and ſtudy: theſe arts, therefore,
as they are innocent, abound in beauty and de-
light, and extend the intelleſtual and phyſical
powers of man, afford the moſt rational and agree-
able ſources of delight.

With ſuch a train of graces and utilities attend-
ant upon the fine arts, we ſhould wonder indeed if
their proſeſors had not acquired fame, refpect, and

BRITISH SCHOOL.

honors, we accordingly find that in all ages and
countries in which they have flourifhed, theſe re-
wards have attended them; witneſs the Appelles
of the Greeks, Raphael and Michael Angelo in
Rome, Titian in Venice, Morelio in Spain, Rubens
in Holland, the Pouſſins in France, Reynolds in
our own country, and a lift, far too long to enume-
rate, of living and departed excellence.

Thus the utility and honor of the imitative arts
have ever been admitted, and they have been en-
couraged among every polite people: even na-
tions have deemed them worthy of their care, and
the better fame of empires has been founded upon
their productions.

It has been ſefferted, that the people of this
country are incapable of a genius for the polite
arts; but ſhall a nation, which has produced an
Alfred! a Shakſpeare! a Bacon! a Newton! and
worthies of the firſt clasſs in arts, ſciences, and arms,
admit the charge? Genius is not a local thing, nor
confined to any age or foil, but flourifhes when and
where it is ſupported by freedom and encourage-
ment.

10

PROSPECTUS OF THE

In this country, therefore, it is particularly fa-
voured, and the names of Hogarth, Lilly, Thorn-
hill, Gainfborough, Wilson, Reynolds, and others,
will bear immortal testimony of British merit in the
polite arts; and I could add to this evidence a
much longer lift of living geniuffes, fome of whom
are, as it were, yet in embryo, whole names are
hardly founded, but whole future efforts will ex-
cite both admiration and aftonifhment!

The progress of thefe arts, it is true, has in
England been tardy, till his preſent moſt gracious
Majeſtty, with a truly patriotic and liberal ſpirit,
founded that excellent inſtitution, the Royal Aca-
demy; the expeſtations and objeſts of which have
been and are realized, by dignifying the arts in
this country, and eſtabliſhing its poffeſors as those
of a ſpecific ſchool: indeed it would be a reproach
to a people, whole charaſteriſtic is originality, if
in these arts alone they were deficient of that pe-
cular excellence which diſtinguifhes. Nor is it
an ill-founded hope, upon the preſent aſpect of
things, that, as a BRITISH SCHOOL has been re-
alized among us, ſo may it alſo become a FIRST

BRITISH SCHOOL.

11

SCHOOL, the ſtudy of remote countries and future
ages.

As a commercial people, it muſt afford us faſis-
faction in reviewing the general progreſs of art, as
delineated in modern hiftory, to find that its greateſt
promoters have united in their perſons all the re-
finements of taſte with the reſources of the mer-
chant: the Medici at Florence, the Rulers at
Milan, and the whole of the Senate of Venice,
drew thoſe reſources from trade by which they re-
munerated the powers of a Michael Angelo, a
Leonardo da Vinci, and a Titian.

Peace is again ſhining, with benign influence, in every quarter of the globe, with plenty in her train: the Arts, purſued by the rage of war, have taken refuge, and found ſuccour, alone in this United Kingdom, which now ſtands the first in the world for riches, arts, and commerce. This is the auſpicious crisis for the British artiſt to diſtinguifh himſelf: already the firſt in his age, it may be our own fault if he be not among the firſt in all ages; but, to attain ſuch ends, he requires the foſtering hand of patronage, an inter-

12

PROSPECTUS OF THE

courfe with his cotemporaries and their works,
publicity for his own, and celebrity for the School
to which he belongs. These are among the ob-
jects of our institution, and a flight consideration
of its plan will shew that its means are adequate,
under the encouragement of tafte and liberality,
to their accomplishment. It has already shewn
confiderable influence in introducing the artift to
his patrons, his contemporaries, and their works;
while the means adopted muft be succefsful in
their publication and fale, both by its exhibition
and advertifements: there is alfo the pleafing hope,
that it may contribute to a fashionsble and juſt
tafte amongſt a noble and refined public, for the
works and honor of their country; and thus be
the means of additional celebrity to the British
School: while it becomes a national example of
the consecutive ſtate of the imitative arts, and a
rational mode of entertainment to its patrons and
the public, animated by continual variation and
novelty.

Its Exhibition will confift of original works only,
of the best and moſt interesting kind, exhibited for
a limited time, in perpetual ſucceſſion; and old

BRITISH SCHOOL.

13

performances and copies will be totally omitted.
For the diſpofal of the latter, there are various
places; and as the Royal Academy provides for
the honor of the artift, fo it is hoped that this
institution will complete a defideratum, by con-
tributing to his emolument, and extending his re-
putation.

Such is the general deſign of our institution,
and it has been found worthy the approbation
and encouragement of an ILLUSTRIOUS AND AC-
COMPLISHED PRINCE, ever prompt to manifest his
love of the arts and of his country, who graciously
became the protector and first Patron of the BRITISH
SCHOOL, in which he has been feconded by a noble,
liberal, and extenſive patronage, and under whose
auplices the rifing arts may look forward with
confidence to their genial excellence and reward.

G. FIELD, D.

British School,
1802.

THE BRITISH SCHOOL.

ABSTRACT
OF THE
PLAN AND CONDITIONS
OF THE
*British School*.

I. THE Institution confists of three Directors,
Proprietaries, not exceeding fifty,
Patrons for life,
Annual Patrons, and
Exhibitors.

II. The DIRECTORS are to have the sole management of the Exhibition, and general bufnefs of the Institution.

III. 1. The PROPRIETARY'S price of admiffion is to be stipulated by the Directors and Proprietaries for the time being, and the fum paid is to be calculated into the general profits of the Institution, in which the Proprietary then becomes a perpetual sharer, with a power of bequeathing, fell-ing, or transferring the fame. 2. They are to meet

annually, for the purpose of auditing the accounts of the Directors, and making a divifion of profits; and will be confulted in the legiflation of the Inſtitution. 3. A filver pallet, of free admittance to the Exhibition, for himſelf and a friend, transferable, will be delivered to each Proprietary.

IV. The PATRON FOR LIFE is to pay five guineas at the time of his admiffion, and to receive a filver pallet of free admittance to the Exhibition for life, for himſelf and a friend, transferable.

V. The PATRON FOR A YEAR pays one guinea at the time of his admiffion, and receives a gilt pallet of free admittance to the Exhibition for himſelf and a friend, for one year, but not transferable.

VI. 1. The EXHIBITOR may exhibit his works without subscription, taking upon himſelf the fending and removing of them. 2. The Institution will be anſwerable for lofs and damages to them; but not for fire, unleſs the exhibitor confents to pay the ufual premium of inſurance. 3. Each performance will be diſpoſed impartially to the best advantage, and entered in a book with the price, name, and addreſs of the artift; and the purchaser

16 PLAN AND CONDITIONS, &c.

and artist, if they think proper, may be introduced
and treat together. 4. Upon any work being fold,
notice will be given to the exhibitor of it, and the
money paid immediately into his hands; deducting
only five per cent. but unless disposed of, no charge
whatever will be made to the exhibitor; and, 5. (if
he be a professor) a card of free admittance, for
himself, to the Exhibition will be delivered to him.

VII. 1. THE EXHIBITION of the British School will consist of modern and original works only, in the following species of art, viz: Painting, Sculpture, Drawing, Architecture, and Engraving in their various branches. 2. Each work exhibited may be removed in three months, if required, for the accommodation of others, but that none can be exhibited more than a year: and, 3. the purchaser of works, after paying the purchase-money, will be at liberty to let the same remain for further exhibition and sale, according to the above limitation.

VIII. NON-SUBSCRIBERS are to pay one shilling each time of admittance to the Exhibition, which will be open from nine in the morning till dusk, Sundays excepted, on which day no person whatever can be admitted.

CATALOGUE
OF THE
British School.

ABBREVIATIONS EXPLAINED.

R. A. Royal Academician.

A. R. A. Associate of the Royal Academy.

* Deceased.

A. C. Member of the Clementine Academy.

D. Director of the British School.

GREAT ROOM.

ARTIST.

1. Lady Elizabeth Gray petitioning Edward the IVth to restore the forfeited Lands of her late Husband,

2. A Landscape,

3. A Landscape,

4. Johanna, the Mother of the
Emperor Charles the Vth,
watching the dead Body of
her Son,

R. Weftall, R. A.

W. Tomkins, A. R. A.*

W. Tomkins, A. R. A.*

R. Weftall, R. A.

20

CATALOGUE OF THE

17 Conway Caftle,

18 A Sea-coast, with Ships in a
light Breeze,

19 The Village Curate, from
Goldsmith's Deferted Vil-
lage,

" The service paft, around the pious man,
With fteady zeal each honest ruſtic ran:
E'en children followed, with endearing wile,
And pluck'd his gown, to ſhare the good man's ſmile.
His ready ſmile a parent's warmth exprefs'd,
Their welfare pleas'd him, and their cares diſtrefs'd;
To them his heart, his love, his grief were given,
But all his serious thoughts had rest in heaven."

20 A View near Inverneſs in
Scotland,

21 A Market Gardener's Houſe
at Waltham-green,

22 Sylphs,

" Ye Sylphs and Sylphids, to your chief give ear!
Fays, Fairies, Genii, Elves, and Demons hear!
Ye know the ſpherés, and various tafks aſſign'd
By laws eternal to th' aerial kind.
Some in the fields of pureſt æther play,
And bafk and whiten in the blaze of day.
Some fuck the miſts in groffer air below,
Or dip their pinions in the painted bow.
Others on earth o'er human race prefide,
Watch all their ways, and all their actions guide,
Of theſe the chief the care of nation's own,
And guard with arms divine the BRITISH THRONE."

POPE

ARTIST.

W. Aſhford, D.

N. Pocock.

H. Singleton.

T. De Bruyn.

T. Burgess.

H. Howard, A. R. A.

BRITISH SCHOOL.

21

ARTIST.

Sir F. Bourgeois, R.A.

H. Howard, A.R.A.

23 A Thunder Storm,

24 Venus carrying away Julus,

" At Venus Aſcanio placidam per membra quietem,
Irrigat, et fotum grenuo dea totut in altos
Idaliæ lucos."

ÆNEID, Lib. i.

Lull'd in her lap amidſt a train of loves,
She gently bears him to her blifſul groves.

DRYDEN.

25 Danæ

26 Dream of the Red-croſs
Knight,

" And ſhe herſelf, of beauty ſovereign queen,
Fair Venus, ſeem'd unto his bed to bring,
And eke the graces ſeemed all to ſing.
Hymen to Hymen, dancing all around,
Whilſt freeſheſt Flora her with ivy garland crown'd."

SPENCER'S FAIRY QUEEN, Canto i.

H. Trefham, R. A.

H. Howard, A.R.A.

27 A Sea-piece, Evening,

28 A View of St. Albans,

29 A Sea-piece, Night,

30 Portrait of a Lady,

31 Fancy on the Approach of
Alma and the Prince, from
the Land of the Mufes,

32 A Landſcape,

33 A View near Barking Creek,
Eſſex,

34 Uſſwater, Cumberland,

35 Cottage Girl,

36 A Landſcape,

D. Serres, R. A.*

J. Laporte.

D. Serres, R. A.*

S. Drummond.

J. Downman, A.R.A.

Mrs. Serres.

J. Laporte.

J. Laporte.

J. Wheſſel.

Mrs. Serres.

22

CATALOGUE OF THE

37 An Italian Landscape,

38 The Port of Genoa,

39 The Cottage Gleaner,

40 Sortie made by the Garrifon
of Gibraltar, in Nov. 1781,

ARTIST.

R. Freebaim.

J. T. Serres, D.

M. Brown.

J. Trumbull.

The Spaniards having employed nearly thirteen months in pushing their approaches to within 1200 yards of the walls of Gibraltar, had their batteries, which with their various communications, extended more than a mile, and would in a few days have opened a prodigious fire upon the garrison; but on the night of the 27th of November, GENERAL ELLIOT determined on the deflection of their works, which he completely effected with a detachment of 2260 men, under the command of MAJOR-GENERAL ROSS, who returned to the fortrefs with the lofs of only 29 men killed and wounded.

General Elliot, attended by Sir Roger Curtis, Colonels Hugo, Trigg, Maxwell, and Hardy, Majors Vallatton and Tipping, Captains Whitham, Cuppidge, Mackenzie, and Hay, &c. (whose portraits are represented in the picture) following the detachment to see that every attention was paid to the wounded, found among them, almost expiring, an elegant young man, DON JOSEPH BARBOSA, a Captain of the Spanish artillery, to whom he tenderly offered assistance, but the Spaniard endeavouring to raise himself, feebly articulated—"No, Sir, no—leave me—let me perish amidst the ruins of my poft." An officer and three men attended him till he expired.

41 The City Shower,

42 Moonlight,

E. Penny, R. A.*

G. Arnold.

BRITISH SCHOOL.

(2)

The pale moon pours a lucid fount
Upon the wat'ry mead,
By the worn turrets—awful haunt
Of fome molefted fhade!

No human ftep dares venture here,
Awhile's the folemn gloom,
Where nought but birds of night appear,
Or starting cattle roam.

ARTIST.

Mifs E. Reinagle.

43 A View in Italy,

44 View of the grand Convent
Scholaſtica, near Subiaco;
Territory of the Pope and
the River Agno, which falls
at Trivoli into the cele-
brated Cafcades of the Ap-
pennines,

45 Fingal in his Youth conquer-
ing Frothal; Utha feeing
her Lover fall, throws off
her Difguife, and flies to
fave him,

46 A Landſcape,

47 Portrait of a Lady,

48 A View on the Thames at
Kew,

49 Love ſurprised,

50 A Landſcape with Cattle,

51 A View on the Uſke in South
Wales,

52 A View of Genſano in Italy,

P. Reinagle, A. R. A.

J. Downman, A. R. A.

P. Reinagle, A. R. A.

J. Downman, A. R. A.

R. Wilson, R. A.*

J. Downman, A. R. ▲

P. Reinagle, A. R. A.

J. Laporte.

R. Wilson, R. A.*

26

CATALOGUE OF THE

With much content and appetite he eats,
To follow in the field his daily toil,
And drefs the grateful glebe that yields him fruits."

ARTIST.

76 The Death of Lindamore, | J. F. Rigaud, R. A.

"No more,
Thou little winged archer, now no more,
As heretofore,
Thou may'ft pretend within my breast to bide.
No more,
Since cruel Death of deareft Lindamore.
Hath me deprived,
I bid adieu to Love, and all the world befide:
Go, go,
Lay by thy quiver, and unbend thy bow,
Poor filly foe,
Thou fpend'ft thy fhaft but at my breast in vain.
Since Death
My heart hath, with a fatal icy dart,
Already flain,
Thou canft not ever hope to warm her wound,
Or wound it o'er again,"

Vide LUCASTA OF LOVELACE.

77 Cattle, B. Mafon.
78 Black-water Bridge, County of Kerry, in Ireland, J. Laporte.
B. Mafon.
79 Cattle, J. Opie, R. A.
80 Portrait of an old Cornifh Woman, M. Brown.
81 The Infant Shakefpeare, Immortal Shakefpeare,
The moft replenifh'd fweet work of Nature,
Which from the prime creation e'er she fram'd.

BRITISH SCHOOL.

27

O thou divineft Nature! how thyfelf thou blazon'ft
In this thy fon! form'd in thy prodigality
To hold thy mirror up, and give the time
Its very form and preffure! how noble in faculty !
How infinite in reafon! when he fpeaks
Each aged ear plays truant at his tales.

From SHAKESPEARE's Works.

82 Portrait of a Lady, W. Hobday.

83 The Marquis of Granby re-
lieving a fick Soldier and his
Family,
E. Penny, R. A.*

84 Tintern Abbey, G. Arnold,

" How rev'rend is the face of this tall pile,
Whofe ancient pillars rear their ftony heads,
To bear aloft its arch'd and ponderous roof,
By its own weight made ſtedfaft and immoveable,
Looking tranquillity, it ſtrikes an awe
And terror to my aking fight!"

CONGREVE.

85 Portrait of an Artift, G. Stuart.
86 Judith attiring, J. Opie, R. A.

87 Lion and Tiger fighting, J. Ward.

88 Celia discovering Orlando
under an Oak
W. Ashford, D.

89 The blind Hermit,

" Lead on (the poor blind hermit faid)
Forbear, my child, to be afraid :
Amidft theſe rocks ſhall safety be;
The God who bids the tempeſt rife,
And rolls his thunders through the ſkies,
Protects from harm both thee and me."

PETER PINDAR, Esq.

28

CATALOGUE OF THE

ARTIST.

90 Samætha invoking the Moon
to be propitious to her in-
cantations,

J. Renton.

" Moon, shine bright and clear,
To thee I will direct my secret prayer;
To thee and Hecate, whom dogs do dread,
When stain'd with gore, she talks amidst the dead.
Hail frightful Hecate, assist me still,
Make mine as great as fam'd Media's skill."

Vide 2nd IDYLLIUM OF THEOCRITUS.

91 Portrait of Old Daniel, the
Cornish Beggar,

92 A Landscape,

93 Portrait of an Artift,

94 A Nurfe and Child,

J. Opie, R. A.

J. Trumbull.

D. Orme.

J. F. Rigaud, R. A.

" How oft has infant innocence impreft,}
A mother's fondneſs on a nurſe's breast."

95 Landſcape and Horſe,

96 A View from Hampſtead-
heath, with Cattle,

97 A woody ſcene, near Col-
chester,

98 Portrait of a Gentleman,

99 St. John,

100 A view of Black-water
Bridge,

101 The Sleeping Girl,

Mifs C. Reinagle.

P. Reinagle, A. R. A.

Mifs C. Reinagle.

Aſhby.

J. Trumbull.

J. Laporte.

Sir J. Reynolds, R. A.*

" Nymph of the grot, theſe ſacred ſprings I keep,
And to the murmur of theſe waters ſleep :
Ah, ſpare my plumbers, gently tread the cave;
Or drink in ſilence, or in ſilence lave.
POPE.

BRITISH SCHOOL.

29

" Enjoy the honey-heavy dew of slumber:
Thou haſt no figures, nor no ſantasies,
Which busy care draws in the brains of men,
Therefore thou ſleep'ſt ſo found."

SHAKESPEARE.

ARTIST.

102 A woody Scene with Aſſes,

103 Peter awakened in Prifon by
the Angel,

104 A View of the Dargles in
Ireland,

105 A Landſcape,

106 A Landſcape,

107 Cattle,

P. Reinagle, A. R. A.

H. Howard, A. R. A.

W. Aſſord, D.

P. Reinagle, jun.

T. De Bruyn.

R. R. Reinagle, jun.

" Upon the bank ſeme ruminating lie,
While others ſtand half in the flood, and bending
Sip the circling ſurface."

THOMPSON.

108 A Landſcape,

109 A Landſcape,

110 Girl and Dog,

111 A Landſcape,

112 A Wood-ſcene,

113 Portrait of a Lady,

114 Flower-piece,

115 A Landscape,

116 View of Weymouth, from
the oppoſite Side of the
Harbour, looking towards
the Esplanade, from which
a Print will be engraved
by Subſcription,

T. De Bruyn.

P. Reinagle, jun.

J. Opie, R. A.

W. Aſſord, D.

G. Arnald.

Aſhby.

Warren.

W. Alſon.

J. T. Serres, D.

30

CATALOGUE OF THE

ARTIST.

117 The Monastery at Bergamo,

118 A Landscape,

119 Clytemneſtra exulting over
the Body of Agamemnon,

R. W ilſon, R. A. *

Mrs. Serres.

S. Rigaud, jun.

" Me, like a witleſs woman, wouldſt thou fright?
I tell thee, my firm foul diſdains to fear.
Be thou diſpos'd t'applaud, or cenſure me,
I heed it not; there Agamemnon lies,
My hufband, ſlaughter'd by this hand; I dare
Avow his death, and juſtify the deed."

POTTER'S ÆSCHYLUS.

120 A Water-mill,

121 A View of Breſt, with Engliſh Frigates making Signal of the Number of French and Spaniſh Ships in the Harbour,

122 Celadon and Amelia, from
Thompsfon's Seaſons,

123 The Channel Fleet failing
from Torbay on a cruize,

124 Adam and Eve lamenting
the Death of Abel,

125 The Anchovy Fisſery in the
Gulf of Salerno,

126 Lady Elizabeth Gray at the
House of her Mother, the
Duchefs of Bedford, peti-
tioning Edward the Fourth

A. W. Callcott.

J. T. Serres, D.

J. Downman, A. R. A.

J. T. Serres, D.

S. Drummond.

R. R. Reinagle.

BRITISH SCHOOL.

31

ARTIST.

to reſtore the forfeited Lands
of her late Hufband,

127 Portrait of a Lady,

128 A Youth reading,

129 Lord William Ruffel in
Newgate, taking final leave
of Lady Rachel and their
Children, who knew his
Innocence, previous to his
Execution,

130 Peter denying Chriſt,

J. Downman, A. R. A.

J. Trumbull.

T. Phillips.

J. Downman, A. R. A.

J. F. Rigaud, R. A.

" And when they had kindled a fire in the midft of the hall, and
were ſet down together, Peter fat down among them.

But a certain maid beheld him as he fat by the fire, and earneſtly
looked upon him, and ſaid, This man was alſo with him.

And he denied him, ſaying, Woman, I know him not."

131 Portrait of a Lady,

132 A landſcape,

133 The Death of General Wolfe,

J. Trumbull.

R. R. Reinagle, jun.

E. Penny, R. A.*

O Wolfe! to thee a ſtreaming flood of woe,
Sighing we pay, and think e'en conqueſt dear;
Quebec in vain ſhall teach our breaſts to glow,
Whilſt thy ſad fate extorts the heart-wrung tear.

134 Sun-rifing in a Fog,

135 The Blind Hermit,

G. Arnald.

T. Stothard, R. A.

" Allons, viens mon enfant, dit un aveugle hermite,
A ſon guide tremblante, que la fraieur agite,

32

CATALOGUE OF THE

Sons l'egide du Dieu, qui commande aux tempêtes
Qui roule fon tonnerre a fon grè dans les cieux,
Malgrè l'aspeſt hideux de ces rocs qui t'arrête
Nous irons d'un pas fur l'un et l'autre en ces lieux."

ARTIST.

136 Edwin and Emma,

J. Downman, A. R. A.

" She came; his cold hand softly touch'd
And bath'd with many a tear;
Faſt falling o'er the primrose pale
So morning dews appear.

But Oh! his fifter's jealous care,
(A cruel fifter ſhe !)
Forbad what Emma came to ſay,
My Edwin live for me."

MALLET.

137 Tobias driveth away the evil
Spirit by the Incantation,

138 Hagar and the Angel by a
Fountain in the Wilderneſſs,

139 View of an Aquaduſt, near
Rome,

140 Love animating the Statue of
Pygmalion,

141 A Landſcape,

142 A Landſcape,

143 A Landſcape,

144 Hebe,

145 Portrait of Sir Isaac Newton,

J. Downman, A. R. A.

Mifs C. Reinagle.

H. Howard.

P. Reinagle, A. R. A.

P. Reinagle, A. R. A.

J. Walker.

W. Hobday.

J. Downman, A. R. A.

" That foul of ſcience, that unbounded mind,
That genius which ennobled human kind!"

BRITISH SCHOOL.

33

ARTIST.

146 The Origin of Painting,

147 Scene in a Grecian Tragedy,

148 Portrait of Yorkſhireman, a
famous Hunter, the Pro-
perty of — Lwindow, Eſq.

149 Landſcape,

150 A Coaſt Scene near Dover,
with Shakespeare's Cliff in
the Diſtance,

151 A Landſcape,

152 A Cottage,

153 A Landſcape,

154 Portrait of Mr. Clarkſon,

155 Portrait of Mr. Alſton,

156 Flower Girl in a Storm,

157 A Landſcape,

158 Bank of a River,

159 Portrait of Mr. Green,

160 A Landſcape,

161 Stage Coachman and Game-
keeper,

162 Game-keeper and Peafants,

163 Ships in a heavy Gale,

165 Youth and Beauty commi-
fering Age in the Story
of Belifarius,

A. Buck.

J. Downman, A. R. A.

B. Chalon.

P. Reinagle, A. R. A.

J. T. Serres, D.

P. Reinagle, A. R. A.

Mifs E. Reinagle.

Sir J. Reynolds, R. A.*

White.

T. Walker.

J. Green.

A. Pether.

A. W. Callcott.

J. Green.

T. Hofland.

S. Morland.

S. Morland.

R. Salomon.

S. Shelley.

Lo YOUTH and BEAUTY, contemplating AGE,
Paſſe in their gaiety, and heave the ſigh
O'er Merit begging bread in life's laſt ſlage,
And drop a tear on paſſing miſery.

C

36

CATALOGUE OF THE

ARTIST.

193 Portrait of Dr. Buchan,

194 Portraits of Mrs. Bady and
Mifs Smith,

195 Portrait of a Lady,

196 Venus and Cupid,

197 Portrait of a Lady,

198 The Beggar Girl,

199 An Old Mendicant,

R. Collins.

Mifs I. Smith.

C. Rivers.

J. Downman, A. R. A.

D. Orme.

R. Dagley.

R. Dagley.

" Pity the forrow of a poor old man,
Whofe trembling limbs have borne him to your door;
Whofe days are dwindled to the shorteft fpan ;
Oh! give relief and heaven will blefs your flore.

Theſe tatter'd clothes my poverty beſpeak ;
Theſe hoary locks proclaim my lengthen'd years,
And many a furrow in my grief-worn cheek
Have long been channels to a flood of tears."

200 A Neſt of Cupids,

201 Love triumphant over Rage,

P. Turnerelli.

J. Panzetta.

BRITISH SCHOOL.

37

LOWER ROOM

Of Sculpture, Drawings, and Engravings.

ARTIST.

222 Flowers,

223 A Votary to Minerva,

224 Cattle,

225 Cottage at Southwick, near
Brighton,

226 Cottage at Southwick.

227 Flowers,

228 Portrait of T. Garnet, M. D.
Professor of Natural Phi-
lofophy in the Royal In-
ſtitution of Great-Britain,

229 Portrait of an old Man,

230 Portrait of a Child,

231 A Cottage,

232 The Gipfey Girl,

Mifs E. Smith.

T. Burgeſs.

T. Burgeſs.

T. Burgeſs.

D. Orme.

S. Phillips.

D. Orme.

D. Orme.

Robinfon.

J. Wheſſell.

" Come, croſs my hand, my art ſurpaffes
All that did ever mortals know,
Come, maidens, come; my magic glaſſes
Your future hufband's form can ſhow?" LEWIS.

233 A Landſcape,

234 A Landſcape,

235 Portrait of a Lady,

236 Banditti alarmed,

D. M. Serres.

Mifs J. Serres.

W. Porter.

C. Rivers.

38

CATALOGUE OF THE

ARTIST,

237 View of Kingsgate, near Margate,

238 Portrait of Colonel St. Le-ger,

239 View near Cork, in Ireland,

240 Apple Blossom,

241 Penman Mawr, N. Wales,

242 Youth,

243 Portrait of a Child,

244 Portrait of Lady Nelfon,

245 A brisk Gale,

246 A Winter-piece,

247 Portrait of General Tarleton,

248 Cherubim,

249 View of the Old Castle and Mill at Oxford,

250 Portrait of John Taylor, Esq.

251 The Coast of France, from Cape Antifier to Havre de Grace, with Bearings, being a Part of a Set of Views on the French Coast,

252 Sleeping Child,

253 Portrait of a Lady,

254 Portrait of a Gentleman,

255 A Cottage at Willfdon, Middlesex,

256 Portrait of a Lady and Child,

J. Marks.

J. Downman, A. R. A.

D. M. Serres.

D. Orme.

D. M. Serres.

D. Orme.

D. Orme.

Mifs E. Smith.

J. T. Serres, D.

W. Orme.

J. Downman, A. R. A.

J. Green.

W. Orme.

W. Porter,

J. T. Serres, D.

D. Orme.

D. Orme.

D. Orme.

W. Orme.

J. Downman, A. R. A.

BRITISH SCHOOL.

39

ARTIST.

257 Landscape,

258 Portrait of a Highland Officer,

259 Portrait of a Gentleman,

260 View of Dover, from the Heights,

261 Duirt Castle, Isle of Mull,

262 A Coast Scene,

263 Link Boy,

264 View of Havre de Grace,

265 View of Debden Church, Effex,

266 Portrait of a young Gentleman,

267 Havre de Grace, View of Ramsgate Pier, from Albion Cliff,

269 View of Guernsey, from the Roads,

270 The Street-sweeper,

271 Leda,

272 View of Cherbourg,

273 Portrait of a Lady,

274 Pyramus and Thisbe,

275 The Ghoft of Cæfar appearing to Brutus,

W. Orme.

D. Orme.

J. Green.

J. R. Smith, jun.

J. T. Serres, D.

J. T. Serres, D.

E. Pugh.

J. T. Serres, D.

J. Marks.

W. Porter.

J. T. Serres, D.

J. R. Smith, jun.

J. T. Serres, D.

E. Pugh.

J. Downman, A. R. A.

J. T. Serres, D.

Mifs E. Smith.

C. Rivers.

C. Rivers.

"I am thy evil genius, Brutus."

276 The Death of King Richard the Third,

40

CATALOGUE OF THE

ARTIST.

277 The Back of the Ille of
Wight,

278 View of the Reculvers,

279 The Bouquet,

280 A Sea-piece,

281 Bacchus comforting Ari-
adne, after her being for-
faken by Theseus,

282 Portraits of two young La-
dies,

283 Venus wounded by Diomed,

J. Laporte.

J. R. Smith, jun.

Edwards.

H. Washington.

J. Downman, A. R. S.

H. Richter.

S. Rigaud.

" With tender fhrieks the goddeſs fill'd the place,
And dropp'd her offſpring from her weak embrace:
Him Phœbus took: he caſts a cloud around
The fainting chief, and wards the mortal wound;
Then, with a voice that fhook the vaulted ſkies,
The king infults the goddeſs as the ſlies." POPE'S HOMER.

284 Cattle,

285 West View of Brighton,

286 Bouquet,

287 Sea-piece,

288 Portrait of an Artist,

289 Proofs of a Book of Deſigns
now publifhing,

290 Portrait of a Lady,

291 A View of Point St. Efprit,

292 Proofs of a Work now pub-
lifhing,

293 Portrait of a Lady,

294 Portrait of Lady and Child,

T. Burgeſs.

T. Burgeſs.

Edwards.

H. Washington.

D. Orme.

M. Brown.

J. R. Smith.

J. T. Serres, D.

M. Brown.

Mifs E. Smith.

A. Buck.

BRITISH SCHOOL.

41

ARTIST.

295 Proof of a Print, from a Pic-
ture by Mr. Stothard, of a
blind Hermit and Child,

296 Portrait of a Lady,

297 Death of General Wolfe,

298 First Thought of an Alle-
gory, prefixed to a Dedи-
cation to HIS MAJESTY,
of Hume's Hiftory of Eng-
land, publifhed by Bow-
yer,

299 First Thought of an Alle-
gory, prefixed to a fecond
Dedication to the HOUSE
OF COMMONS, to Hume's
Hiftory of England, pub-
lifhed by Bowyer,

301 Cupid, a Deſign for a Chan-
delier,

302 Part of a Monument, repre-
fenting Grief conſoled by
Piety and future Happi-
neſs,

303 The Britiſh Mars invincible,

304 Buſt of a Lady,

305 Deſign for a Colloſſean Statue,

306 Statue of the Right Hon.
Charles James Fox,

307 The Bay of Sligo in Ireland,

J. Wheſſel.

W. Porter.

W. Woollett.

H. Fresham, R. A.

H. Fresham, R. A.

J. Panzetta.

J. Panzetta.

J. Panzetta.

L. Gahagan.

L. Gahagan.

L. Gahagan.

J. Laporte.