in the foreground; and the expression of evidently for her offspring alone, with whom savage ferocity, which the artist has impress- she is hurrying to take refuge near the brazen ed on the countenance, forcibly suggest the serpent. The next group is that of a mother idea of the blaspheming Capaneo, as de- supporting the head of her dying son, who is scribed by Dante in the 14th canto of the In- lying on a fragment of rock. Deep affliction ferno:manifests itself in her features and attitude, yet subdued in some degree by resignation; Gridò, quale fui vivo, tal son morto ;' &c. for she appears to exclaim, The Lord hath One of the serpents which have obtained a given-the Lord hath taken away.' Passing mastery over his prodigious strength, is al- to the extreme left of the picture, in the foreready eager for fresh prey, and preparing to ground, we behold a man in the prime of life dart upon another group close by that of the and strength, supporting his aged blind father, maiden and her lover. This group consists whom he is anxiously conducting towards the of three figures, of which the one nearest to brazen serpent, as to the only asylum from the serpent is a young man seated on the destruction. He is followed by his wife, who ground, but who, perceiving his scaly assail- assists him in helping the old man along, ant, is in the act of springing up in order to while their little boy clings to his father's make his escape. The figure next to this is girdle. In the background, on this side of an old woman, who is also sitting on the the picture, is seen the brazen serpent eleground, she holds a young child on her vated upon a pole, at the foot of which are a knees, and raises her face upwards, looking number of females, whose varied attitudes at the serpents descending through the air. and gestures are all expressive of joy and Behind the female, belonging to the first de- gratitude at being protected by the saving scribed group, is seen one considerably symbol. In the centre of the picture, and younger-quite a girl, who is shrieking out towards the background, stands Moses himwith alarm, and endeavoring to shelter her- self, a majestic figure, marked by that auself beneath her mother's veil, imagining thoritative and awful dignity becoming the herself to be pursued by one of the serpents, Jewish lawgiver; while the surrounding instead of which her pursuer is her little throng reverently make way for him, flingbrother, who is trying to overtake her. In ing themselves on the ground before him, this boy, the artist has expressed all the indi- and hailing him as their conductor and procations of extreme fear with most astonishing tector." truth; he stops short, as if suddenly petrified and riveted to the ground, on beholding a serThus much must suffice of Signor Filippo pent hissing at him, immediately behind the Mercuri's description of the picture, our space old woman just mentioned. The mother her- not allowing us to give the whole of it, and self is an admirable figure: she is evidently even now we have been obliged to omit some influenced by two contrary impulses, the one parts in what we have extracted. Still, enough urging her to attempt to save her children, has been quoted to enable the reader to form the other, to implore for them that aid from a tolerable notion of the general composi Heaven which she despairs of affording them herself. We see that the last has prevailed, tion, and of the manner in which the Rusand she accordingly casts an imploring look sian artist has treated the subject. Of the of supplication upon the symbolic brazen critic's subsequent remarks we shall give no serpent. more than a general summary, namely, that "Behind this group, and in the distance, the execution of this picture manifests a seare seen a number of the Israelites running vere and pure style, and proves the artist to about franticly, while a shower of serpents be an attentive studier of both Raffaelle and descends upon them. Some have already

taken to flight; others hope to fence them- Michelagnolo, yet not a mere imitator of their selves by wrapping their garments closely manner, but gifted with originality of conaround them; while those upon whom the ception and feeling,-conscious of his own serpents have actually fastened are vainly powers, and ambitious of exerting them struggling, and endeavoring to shake them worthily. There is likewise a description by off. By way of relief to this part of his pic- the same writer, of three smaller pictures by ture, where he vividly represents to us va- Bruni executed by him for a Russo Greek rious degrees of distress and horror, the artist church; viz. a Virgin and Infant Christ,both now introduces some images of a less painful character. Close by the group of the mother represented standing on clouds, the former and children, is a man supporting a female holding the latter by the hand; the Savior, wrapped up in white drapery, who has been also shown in the same manner; and Christ wounded by one of the serpents. Her coun- praying in the garden. The first two are tenance expresses bodily anguish, but at the painted on a gold ground, as being a suitable same time cheering confidence and hope, as manner of treating religious subjects of this she gazes upon the brazen serpent, whose kind, which are purely symbolic. Of another salutary influence she already begins to feel. To these figures succeeds that of another of Bruni's performances, representing one woman accompanied by her two young of the Horatii slaying his sister, there is an children, one of whom she holds by the hand, outline engraving, which shows it to be a while the other follows her. Her concern is work of great ability in regard to composi.

tion, and also as respects attention to cos- results. In 1836 it tried the experiment of tume. Beyond this we can offer no opinion, a lottery of works of art, which so far exbecause it would be exceedingly hazardous ceeded its expectations, that, although the to pretend to speak of its other qualities upon number of tickets was limited to one thou. no better authority than a mere outline copy sand, upwards of seven times that number on a very reduced scale, and unaccompanied could have been disposed of. In conseby any description. The picture itself is in quence of this, the Society have resolved to the Academy of Arts at St. Petersburg. apply to government for permission to esta. From what has just been said it will be blish a regular series of such lotteries, with concluded, that graphic illustrations form part the view of not only being enabled thereby of the plan of the Gazela;" they do not, to give frequent commissions to native artists, however, appear regularly in each number of or to purchase works which they may have the publication, those which we have as yet upon hand, but also of thus diffusing various received for the present year containing only productions of art among all classes of the two, the other being from a picture by a public. How far a speculation of this nayoung artist named Ivanov, representing ture is compatible with a regard to the higher Christ appearing to Mary Magdalen in the interests of art, admits of very great doubt. garden. More however are promised, and Many plausible arguments may be urged reamong them one or two architectural sub-lative to it both pro and con: the immediate jects, including the design of the Church of consequences are no doubt obviously benefi St. Catherine Velikomuzhenitza, or the Mar. cial, by opening a market to artists for their tyr,which has lately been erected at St. Peters- productions, and creating an increasing de burg, and which, it seems, is greatly admired mand for them. The danger is, that, in order by the public of that capital for the Byzan- to adapt itself to such patronage, and to contine character of its style. This we learn ciliate popular taste, art will descend to the from an article in the third number of the level of the public, instead of seeking to lift Gazet, which gives a recapitulation of the up the latter to its own. All that we can principal structures that have been erected at say is, that such a system accords well St. Petersburg within about the last ten years, enough with the spirit of the present age, together with mention of a few at Moscow. when even taste is required to co-operate for Great praise in particular is bestowed upon the service of the many, though it should Ton, the architect of the above-mentioned thereby forfeit some of its higher prerogachurch and several other edifices. We have tives. We are anxious to have short cuts to never happened to meet with the name any every thing; so, as it is a tedious and lawhere before, neither does it appear to us at borious task to educate the public to art, art all like a Russian one; while, if foreign, it must perforce lend itself to be trained to has probably been much metamorphosed, as please the public, upon whose favor, it is told, is generally the case when such names are its very existence depends; nor can we centranslated into Russian characters, so that sure the Russian "Society " for following unless, as is frequently done-and ought in the example previously set by Germany, variably to be so the name be also printed where Kunstvereine and picture-lotteries are, in Roman type according to its genuine or. we will not exactly say among the fashions of thography, it is hardly possible to recognize the day, but among the plans recurred to for or to decipher it. This, therefore, must be promoting art, and securing to it patronage accepted as an excuse for the uncertainty we and support on the broadest basis. The in feel in the present instance. After all, we tention itself is most excellent, and, as far as should be glad to discover, that, notwithstand- mere appearances go, the experiment will ing his stumbling-block of a surname, Con-succeed; yet we should do well not to be too stantine Andreevitch can fairly be claimed by Russia as her own, and that it is native talent which is here eulogized.

sanguine the first shoots and green leaves may look quite vigorous and thriving, but the fruit may nevertheless turn out to be alto. We had written thus far when some addi-gether worthless and insipid. tional sheets-sixteen pages being the ave We have not yet done with the Report, rage complement of each number-reached us, one of which contains the last annual report made to the Committee of the Society for the encouragement of the Arts. Unless it sets things in a far more favorable light than the reality warrants, this document af fords grounds for concluding that the exertions on the part of the Society are now be. ginning to be productive of very successful

for, among the information that it supplies as to what is actually going on in Russia, we learn from it that Bruni is now engaged upon a series of historical subjects taken from the annals of the empire, which he has undertaken at the solicitation of the Society. These, we are told, are now in the course of being engraved by the artist himself on cop per, and therefore conclude them to be out.

line compositions etched by him, in which | Report, are Raev, Shapovalov, and Ivanov. supposition we are confirmed by its being The first of these is a young artist, who has stated, that upwards of thirty are already distinguished himself by his talent in landcompleted. In what form they will be pub- scape and perspective painting, especially by lished, whether in livraisons or the entire four panoramic views of St. Petersburg, series together, we are not informed, it being which obtained for him, as a mark of the only stated in addition that the descriptive emperor's approbation, a gratuity of three letter-press will be written by Rezvoy, one thousand rubles. He is now engaged in of the members of the Society, whose know. making views of the scenery of Nizhmeiledge of art, not less than his familiar ac- Taghil for M. Demidov. Respecting Shaquaintance with the history of his country, polov, we learn that he is quite a youth, who, well qualifies for such a task. Submitted to having accompanied his master, Lieut. Kapthe world in this shape, these compositions of nist, to Naples, was left there by him about Bruni's will either greatly extend his fame, two years ago, and taken into the service of or else diminish it, by showing, that however a painter, named Doria. The talent which high a rank the partiality or the patriotism of he displayed for drawing recommended him his countrymen may award him, he must be so strongly to his new master, that he was content with their suffrages, and not seek those of a European public. We trust, however, that, although other nations cannot fully enter into all the interests of the subjects themselves, they will see no cause for withholding their approbation from them as productions of art, but be able to recognise in them the manifestations of superior talent-power of mind as well as skill of hand-and readily welcome them accordingly.

soon treated by him entirely as his pupil, and through the medium of Count Matushevitch, a pension of one hundred dollars has been obtained for him from the Society, to enable him, after studying two years longer in the Museum at Naples, to proceed to Rome. Alexander Ivanov, who was another of the Society's protegés, is already well known to the public of St. Petersburg by his picture of Joseph interpreting Pharaoh's dream, which gained the gold medal of the first Another publication, of whose speedy ap- class in the Academy of Arts; and still pearance promise is held out by the Report, more advantageously by that of Christ apis to consist of the works of the late Profes- pearing to Mary Magdalen in the garden, sor Ivan Petrovitch Martos, whose fame as a which not only obtained for him the honor sculptor is not even now confined to Russia. of being elected a member of the Academy, What will be its extent we have not the but has since been placed in the imperial means of judging; yet as it is said that sixty gallery of the Hermitage, as a production of the plates were then finished, and conside- highly creditable to Russian talent. This rable progress made with the rest, except last-mentioned production is spoken of more those of such works as were in different at length in the sixth number of the Gazeta, parts of the country, and the drawings of which had not then reached St. Petersburg, we may presume that the whole number will amount to about a hundred. This artist of whom some slight mention was made by us in our paper on Russian Annuals, (No. XXXII.) has been complimented by his countrymen with the title of their Canova, and, although not equal to the Italian, is well entitled to a distinguished rank among modern sculptors. To assert that his production will stand the test of a comparison with those of the latter, or of Thorwaldsen, would probably be raising expectation much too high; it will be enough for his fame and that of his country if they are found to ap. proach them at no very great interval; and we hope that the engravings from them will do justice to their merits, and form a work deserving to be placed beside that of the illustrious Italian, and that of the no less illustrious Dare.

Among those of whom more particular and very honorable mention is made in the

which contains an outline of it. Ivanov is at present at Rome, where he has been coinmissioned by the Society to make copies of the three figures of Strength, Prudence, and Temperance, painted by Raffaelle in the third of the Vatican stanze, and held by connoisseurs among the chefs-d'auvre of that great master's pencil. Of the larger and more celebrated productions of Raffaelle in the Vatican, the Imperial Academy of Arts already possesses the following copies, viz: The School of Athens, by Brulov; Heliodorus driven out of the Temple, by Bruni; St. Peter delivered from Prison; and the Miracle at Bolsena, by Basin. In addition to these and several smaller copies, Markov, whose picture from Krilov's admirable fable, Fortune and the Beggar, was lately purchased by the Academy for three thousand rubles, has been commissioned to paint one of the Incendio del Borgo. We are further told that the Russian engraver, Jordan, has, during his stay at Rome, made considerable progress with a plate after the

Transfiguration, a rather bold undertaking, | Tzvati, as being, though not the best in all considering that the same subject has been other respects, the most correct in point of already engraved twice by Morghen, to say likeness. There are also small whole-length nothing of varicus other copies by eminent figures of him and of those other two popu artists. The editor of the Gazeta himself lar poets Krilov and Zhokovsky, which are remarks that no one has yet completely suc- in great request with the public. Holberg ceeded in doing justice to all the beauties of is spoken of in exceedingly warm-we hope the original, yet does not consider this fresh not very exaggerated-terms of praise, for attempt by his countryman to be at all a his ability as a scupltor, and the feeling which presumptuous one. Perhaps he will consi- he infuses into whatever he executes. Great der his expectations fully realised, should the commendation, too, is bestowed upon Bruwork turn out not at all inferior to some of lov's portraits; and his large picture of the the former copies of the same picture. Last Days of Pompeii, which attracted so Hardly should we anticipate a much greater much notice by its powerful effect, has, we degree of success, when we are told, in are here informed, been copied for the purthis very journal, that in no one branch pose of being engraved at Paris. Bruni is of art have the Russians made so little ad- again mentioned in this letter, which speaks vance as in that of engraving. of his having just finished a copy of Raffaelle's Madonna d'Alba, for which a commission was given him by the Emperor, and which is said to bear a most happy resem blance to the original. Basin likewise comes in for some share of notice, as being employed, during his convalescence from a disorder which attacked his eyes, in making studies of heads, &c. for two large pictures, to be executed by him for the church of the Academy at St. Petersburg; one representing the Descent of the Holy Ghost, the other the Nativity. As Lazhetznikov's name is introduced in speaking of Tæronov's portrait of him, we may as well avail ourselves of it in order to remark that, although he made his début in authorship only three or four years ago, he is one of the most able and popular novel writers that Russia possesses. It must be admitted that, where the ranks are so exceedingly thin, it is not very difficult to earn distinction; yet even Russia has within the exceeding brief space of time just mentioned, seen that class of its writers increase at least threefold, and can reckon among them such fresh and original talent as that of Odejevsky, Gogol, and Pavlov; names which until very lately, had never reached us. Lazhetnikov's happiest production, the Last of the Norik's, the scene of which is laid in the time of Peter the Great, and which introduces to us both that monarch and his sister Sophia among its histo rical personages, is quite in the Walter Scott manner, but far superior to the ordinary imi· tation of it, and has many exceedingly well. drawn scenes and descriptions.

Not the least interesting article is that in the form of a letter from the editor to a friend at Paris, wherein he gives him an account of the chief novelties connected with art at St. Petersburg, prefacing it by the advice that his countrymen should proceed straight to Rome by sea, and not permit themselves to form any acquaint ance with the modern schools either of France or Germany, until their taste shall have been matured and well disciplined by an attentive study of the acknowledged master-works of the pencil. At Paris, he observes, a man is in a good school for learning to talk about art; but it is at Rome that he will feel what art really is. Our limited space forbids our attempting to go through this letter paragraph by para graph; and therefore we shall confine our selves to a few of its topics, one of which is in regard to some improvements contemplated for the Gazeta itself, in another volume, with which view the writer purposes to illustrate it with wood engravings, to the number of one hundred in the course of the year. He speaks at some length of the various portraits of the late Alexander Pushkin,* and gives the preference to that which appeared in the annual entitled Severnic

This exceedingly popular poet was killed in a duel, at the beginning of the present year (1837), and thus cut off at the early age of thirtyseven, a period of life when he might have looked forward to establishing his fame by some finished literary performance, worthy of his talents. Since his death, a complete edition of his works has been announced, in six volumes, octavo, for the benefit of his widow and family. It will contain all his prose writings, including his History of Pugatchev's Insurrection, which will occupy the whole of the fifth volume. In the last will be given a biographical memoir of him. For an account of his Poltava and some other of his poems, we refer the reader to an article in our Eighteenth Number, which gives some translated extracts from that production.

Brief as it is in itself, the above literary digression prevents our proceeding with recapitulating the other notices contained in the editor's letter to his friend at Paris,-further than saying that the landscape-painter, Rabus, is making an artistical tour through the Crimea and Greece, during which he purposes making views of the most striking scene.

ry in those countries. Neither have we left speculating upon these subjects, in company ourselves room to speak of any of the other with our learned professor. articles, otherwise we should be disposed to It is, perhaps, not very easy to collect from give some account of that on the history of the title of this Essay, or even from the work scene-painting in Russia, or rather on the dif- itself, a precise notion of Heeren's object, in ficulty of obtaining any materials for one-a | proposing the questions which he thus enudifficulty, by the by, not confined to Russia merates,alone. The scenery by Phedorov and others, in the modern operas and pieces of spectacle, is spoken as having contributed in no small degree to their popularity, particularly the scenes executed by Phedorov for the Bronze Horse. A publication consisting of the plans and details of the Alexander Column, would also claim more attention from us than we can now bestow upon it. It will consist of forty-eight lithograph plates, thirty-seven of which will be expressly devoted to showing all the previous operations of quarrying, transporting, and finally erecting, that immense granite monolith.

Should our readers at all participate in the interest we take in whatever relates to the progress of the arts in Russia, they will thank us evenfor the above slight and desultory sketch. Many of them will, no doubt, be very sceptical both as to our general report and that to which we are indebted for much of what we have stated. Yet, without laying claim to the gift of prophecy, we may venture to as. sert that the time is approaching when foreigners who shall visit Russia will direct their attention to those productions of native talent which may be understood without a previous acquaintance with the idiom of the country, because they speak a universal language.

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ART. VI.-Vermischte Historische Schrif ten. Von H. L. Heeren, Erster Theil.Ueber die Entstehung, die Ausbildung,und den politischen Einfluss der politischen Theorien, und die Erhaltung des Monarchischen Princips in dem neueren Europa. (Miscellaneous Historical Works. By H. L. Heeren, Vol. I.-On the Rise, Progress, and practical Influence of Political Theories, and on the Preservation of the Monarchical Principle in Modern Europe.)

distinctions in the forms of government, first "How the spirit of inquiry, with regard to arose in modern Europe? How this became the source of political reasoning? How this again formed the base of abstract theories? What practical influence the latter executed generally, and what in particular, upon the late revolutions? With these (he says) another, and that of the highest practical impor What is necessary for the preservation of tance, becomes naturally associated, viz.monarchical principles of constitutional governments? In this case the inquiry is to be directedonly to the constitution, not to the administration, of power in the different states." p. 116.

The professor nowhere states precisely what he means by the preservation of the monar chical principle, but we collect from the whole that he intends us to consider, how far it may be possible to carry into effect the theoretical principles, and the prevailing sentiments, which assign to the people a large share in the government without converting every state into a republic, in form or substance.

The habits of philosophical inquiry arose and perfected themselves, according to our author, in ancient Greece; he traces them to the struggles which took place with regard to the forms of the constitutions, and to the neighborhood of other states governed in various manners. The habit was dormant du. ring the middle ages, because the feudal system admisted of no free citizenship, and allowed no varieties of government.

It might have been expected first to give signs of life in Italy, where, "all the ordinary causes appear to have united ;-a number of small states arose near each other, republican constitutions were established, political parties were everywhere at work and at variance; and with all this, the arts and sciences were in the full splendor of their revival." Yet political theories were as few in Italy as they had been many in Greece; for which we may perhaps account, if we remember that "there never was a philosophical system of character or influence which prosper. ed under the sky of Italy." Roman philoTHE Construction of new constitutions, and sophy was a mere echo of the Grecian; and the consideration of theories of government, again, at the revival of science after the pehave been lately the occupation of half the riod of darkness, Plato and Aristotle were the nations of the world; our own constitution chief and only guides. While speculative has recently undergone one important science made no great advance among the change, and is threatened with others. It Italians, they were nevertheless the deepest is therefore that we seize the opportunity of and most accomplished politicians. Their

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