At the Jesuits, in Paris, was a Christ praying in the garden ; in the gallery at Manheim is a dying Mary and an ecce homo; at Dusseldorf a holy family, and a painting with ten thousand martyrs*; at Munich are an assumption of the virgin, and the twelve apostles, a Lucretia as large as life, and the four evangelists.

At the town-house of Nuremberg are some of the emperors of the house of Austria; the twelve apostles; Dürer's mother; and his own portrait in his thirtieth year.

In the academy of Milan are some beautiful but dry heads by Dürer.

Various other works of this eminent painter are dispersed throughout all the kingdoms of Europe, many of which, in the several states of Italy †, are mentioned by Mr. Keysler, especially one in the Abbey del Bosco, in Piedmont, representing the life of Christ, with figures so small as to require the aid of a glass to examine them. In various galleries at Rome are seven of Dürer's pictures, and many more in the Carthusian church at Naples, and the ducal palace at Venice.

England also boasts of many works of this eminent master, especially the Arundel collection, of which Mr. Hollar has copied so many, besides various others noticed by Arthur Young in his travels through England.

De la Puente's travels, and those of Twiss through Spain and Portugal, inform us of many works of this master in those southern countries of Europe, and doubtless there are many more in other parts of the continent highly valued and admired, but of which an account is still wanting.

ENGRAVINGS.

Among the immense number of engravings offered under Dürer's name, in some of which his style has been copied for the sake of profit and others for practice in the art, only about a hundred bear the marks of being originals in the eyes of connoisseurs ; seven of them are in iron, and the rest in copper.

From the Old Testament we have, I. Adam and Eve, 1504, very scarce. 2. Juda and Thamar, scarce.

From the New Testament, twenty-seven pieces, of which sixteen relate to the passion, viz. 3. The birth of Christ, 1500,

This gallery is now removed to Glückstadt, where the pictures are kept packed up, and can only be seen one at a time. They are under the care of several eminent artists and officers appointed for their preservation.

+ Several of Dürer's works are now removed to Paris; the particulars may probably appear in Mr. Cramer's Almanack of Arts and Amusements for 1801, to be published by Haas and Son, at Cologne.

Sec Husgen's catalogue of Dürer's engravings.

is one of the most common. 4. The passion, in sixteen plates, of which the title leaf represents Christ bound to a pillar, 1509. 5. Christ praying in the garden, 1508. 6. Christ in the garden betrayed by Judas, 1508. 7. The false testimony against Jesus, 1512. 9. Pilot washing his hands, 1512. 10. The Scourging of Christ, 1512. 11. The mocking and crowning of Christ, 1512. 12. An ecce homo, 1512. 13. Christ bearing the cross, 1512. 14. Crucifixion, 1511. 15. The taking down of Christ from the cross, 1507. 16. The laying in the sepulchre, 1512. 17. The descent into hell, 1512. 18. The resurrection, 1512. 19. The healing of the lame. 20. Christ in the garden, an etching in iron, 1515, scarce. 21. The sudarium flying, an etching in iron, 1516. 22. The same extended, 1513. 23. A little ecce homo, 1512, a fine plate in iron. 24. A large ecce homo, seven inches high, and five broad, 1512, one of Dürer's scarcest plates. 25. An ecce homo, without date. 26. A crucifixion, 1508. 28. The day of judgment, one of the least finished, and perhaps one of the earliest of Dürer's pieces. 29. The prodigal son.

OF THE VIRGIN MARY SIXTEEN PIECES.

30. The Virgin Mary and St. Ann. 31. The Virgin Mary upon a half moon. 32. The same, 1514. 33. The virgin Mary with a crown of stars, 1508. 34. The same, 1516. 35. The infant Jesus at the breast of the virgin Mary, 1503. 36. The same, 1512. 37. The same, with a large open door behind her head, which is veiled, and affording a view of a monastery surrounded with high walls. This is one of the most beautiful, but scarcest, of Dürer's pictures of the virgin. 38. The virgin Mary at the tree. 39. The same with a purse, 1514, a scarce plate. 40. The same, with a pearl, 1511. 41. The same, with the infant Jesus in swaddling clothes, 1520. 42. The same, with an ape. 43. The same, with angels hovering over her. 44. The same, with two angels in the like attitude. 45. The same, with St. Joseph, a very scarce plate.

OF SAINTS SEVENTEEN PIECES, VIZ.

46. St. Philip the apostle, 1526. 47. St. Bartholomew, 1523. 48. St. Thomas, 1514. 49. St. Simon, 1523. 50. St. Matthew, 1514. 51. St. Sebastian bound to the tree. 52. The same bound to a pillar. 53. St. Christopher, 1521, with the head in profile. 54. St. Christopher, 1521. 55. St. George on foot. 56. The same on horseback, 1508, both scarce. 57. St. Antony. 58. St. Genevieve. 59. St. Jerome, an etching in iron, 1512, extremely scarce. 60. St. Jerome, 1514,

scarce.

scarce. 61. St. Jerome kneeling, very scarce. fifteen inches long and ten wide, extremely scarce.

PORTRAITS.

62. St. Hubert,

63. A small one of Cardinal Albert of Mentz, five and a half inches high by four broad. 64. A large one of the same. 65. Frederick Elector of Saxony. 66. B. Birkheimer. 67. Philip Melanchton, 1526. 68. Erasmus, 1526, a scarce and dear print.

FANCY PIECES.

69. The smaller fortune. 70. A Turkish man and woman. 71. A drunken peasant and his wife. 72. Three boors, scarce. 73. A man and woman cook, scarce. 74. Justice. 75. A witch. 76. Three truant children, scarce. 77. Two boors dancing. 78. A bagpipe player. 79. A man and woman peasant at market. 80. A small satyr. 81. A man, woman, and stag. 82. An ensign. 83. A woman on horseback, scarce. 84. A man on horeback galloping, very scarce. 35. A kneeling knight. 86. A knight standing. 87. A manstrous birth of a sow, very scarce, and probably one of Dürer's first pieces. 88. Banditti, scarce. 89. A man, woman, and death. 90. A vision, one of Dürer's scarcest pieces. 91. The four witches, dated 1497, as we have already mentioned. 92. A coat of arms with cocks, scarce and dear. 93. Another, with a death's head, a beautiful and scarce plate. 94. A knight, death, and the devil*. 95. Melancholy. 96. A mariner. 97. A rape, in iron, 1516. 98. The larger satyr. 99. Cannon, engraved in iron. 100. The larger fortune.

ETCHINGS.

Among Dürer's copper plates we have enumerated several of his etchings, the rest are,

1. St. Jerome, 1512. 2. Christ in the garden, 1515. 3. Christ sitting with a crown of thorns, 1515. 4. The Sudarjum, with four angels, 1516. 5. The rape of a woman borne off on a horse with a horn on his forehead. 6. Heavy artillery with some Turks standing by it, 1518. 7. A holy family without date. 8. A female figure lying on the earth with her head on a cushion, in the agonies of death.

This knight represents Francis von Sickingen, who cared neither for death nor the devil, and went out against his enemies without fear; hence on this piece is found not only Dürer's customary mark of his initials A. D. but they are preceded by an S.

WOOD

WOOD-CUTS.

A still greater number of his wood-cuts are extant, amounting to 262*, which bear his name; but the great number of his paintings and engravings render it highly probable, that he did not execute a quarter of these wood-cuts with his own hands; the remainder he must have drawn upon the wood, and given to the best artists he could employ. Connoisseurs have fixed the date of his first wood-cuts, which are the fifteen of the preaching of St. John, in large folio, in the year 1498. Of the remainder of Dürer's wood-cuts we shall only notice those which appear to have been his own work.

1. A knight in a landscape, and behind him a man running with a pertisan. 2. An ecce homo, with two soldiers. 3. Another without signature. 4. Hercules with his club attacking a man in armour, one of his first wood-cuts, and probably in 1498. 5. A large head of Christ crowned with thorns, and bleeding, is his boldest piece. 6. Only four woodcuts of the great passion remain, viz. The supper; the imprisonment; the release of the prisoners out of hell, and the resurrection, 1510. 7. Of the smaller passion most of the wood-cuts, if not all, were Dürer's own work. 8. All those of the life of the Virgin Mary, among which is the assumption, a master-picce of cross cut as well as of straight work. 9. God the Father with a papal crown, which is equally admirable, 1511. 10. All those of the triumphal arch. 11. A portrait of Vornbüler. 12. A Rhinoceros, 1515. 13. The besieging a fort, his very best work.

Some medals are also attributed to Dürer, among which I will only particularize those of his friend Birkheimer and of Luther.

The innumerable copies which have been made of Dürer's plates and pictures cannot here be specified, and we shall only mention his portrait, which not having been engraved by himself has been done by Lucas Kilian, and the beautiful plate by Mr. Hollar, which presents, as it were, the living form of our great German master with all that exquisite workmanship his immortal fame could merit.

*Sce Muir's journal of engravings, vol. 2.

The

KARAMSIN'S TALES.

The tales of Karamsin have, among the Russian literati, met with unbounded applause, and the Spectateur du Nord considers them, in the introduction to the French translation of Julia-which, if we mistake not, is to be found in the number for March, 1797-equal to the best pieces of Marmontel and Florian.

From these authorities, which perhaps may be of very little signification, we mean not to encroach on the judgment of the public, by expatiating on the worthiness or unworthiness of the productions of the Russian literati; but merely to use them as a proper introduction of their author to a foreign public.

We shall give these tales in rotation, viz. Flor Silin, Poor Lise and Natalia, published together at Moskow, anno 1797, in Karamsin's Trifles; also his Julia, which was printed separate.

In the translation much has been omitted; the beginner, who perhaps may use the translation as a help to understand the original better, must not censure, if he finds many passages different from the Russian. When he understands properly the spirit of both languages, and the national character of the people, he will perceive the reasons why the translation has been made in this way.

FLOR SILIN.

A RUSSIAN TALE.

LE

ET Virgil celebrate the fame of Augustus! let the eloquence of flatterers glorify the sublime qualities of the great!-I will proclaim the renown of the worthy Flor Silin, who, though only a peasant, was withal a noble man; and in an unadorned relation of his actions shall his fame alone consist!

I cannot at this moment reflect without the most painful feelings, on that dreadful year, which is known in the vicinity of the Lower Wolga by the name of the Famine-year. With sorrow I remember the summer, in which, during a long-continued drought, the parched fields were only watered by the tears of the unfortunate peasantry. I shudder when I think of the autumn, when nought but the sighs of the distracted villagers at the sight of their empty barns was heard, instead of the usual songs of joy after an abundant harvest; and horror seizes me, whene'er I recall to my remembrance the misery of that

winter,