6 APRIL 1839, Page 16

NEW PRINTS.

THE first picture engraved for the members of the Art Union of London, is the clever one by WILLIAM SIMSON, a young artist of greit talent, representing a Canialdolese Monk Showing the Relies of his con: vent. It is faithfully copied in mezzotint, by W. GILL* with power. ful effect ; and is of itself a good return for the subscription-guieea—. putting out of consideration the chance of obtaining a prize in the shape of a painting besides. The monk, seated before the altar, exhibit. ing the skull assigned to some famous saint, with the begging-box at his feet, eyeing the group of kneeling peasants with a grave watchful- ness, as if calculating the effect of the sight upon his dupes, is a fine study of the priestly character : the women do not seem impressed with a stronger feeling than wondering curiosity ; and in the searching look of the pilgrim we fancy a lurking feeling of doubt, while the inno- cent child looks out with a charming unconsciousness. We are glad to learn from the Report of the Committee of Manage- ment that the Art Union prospers. Such societies spread a lo .e for pictures and encourage artists, and therefore deserve support. It is their alleged influence in elevating art that we doubt.

The only line engraving of any importance that has appeared of late, is from a painting by Butcos.,—Calandrino Buffo and Ilulabnaceo in Scamh of the Heliotrope. The story of Boccaccio, from which the sub ject is taken, is founded on an actual incident in the life of the Floren-, tine painter BUFFALMACCO ; whom some waggish companions made to

believe, that on a certain road out of the city might be picked up a stone called " heliotrope," which had the power of rendering its possessor in-

visible. The credulous Buffalmacco, with his pocket full of stones, is returning to Florence in company with Calandrino and Buffo ; , and he being a little in advance, they affect suddenly to miss him and loudly' congratulate him on his good fortune in having found the heliotrope:, blaming their own ill-luck, they proceed to fling away their store of pebbles, as though venting their vexation,—pcIting poor silly Buffal- memo all the while : he, overjoyed at his success, minds not the blows he gets, but limps on in silence, his*companions laughing in their sleeves at his folly. The simple Buffalmacco is stopping to rub his leg; and makes a face like one of °STARE'S boors under the doetor's hands for a broken shin : he is too near his companions for the probability of the scene, and for their blows to tell ; and the one whose face is seen seems laughing aloud instead of smiling with suppressed mirth : the attitude of him whose face is turned away is awkward and ungraceful; and at the pace they are going, the next step would bring them in con- tact with their dupe. The plate is elaborately engraved in line, by E. R. WHITFIELD ; and, as the first finished production of a young artist, it merits high commendation, and gives promise of future excellence. It is in the boldest manner of the modern style, with strong lines intersecting each other, or interlined ; the flesh tints are pure and delicate in tone, though the broken line intersected, with which it is rendered, has an un- pleasant effect on the eye : the backgrouud is heavy, and comes too for- waxd ; and the -figure of Buffahna.cco appears nearer in the plate than it probably is in the picture.

'The picture of the City Banquet in Guildhall, (when the present Queen dined there soon after her accession,) drawn by THOMAS DIGHTON, for her Majesty, has been aquatinted ; and the coloured prints give a very correct and striking representation of the scene : the shadow. less brilliancy of the effect of the flood of light is capitally imitated, and the colour, while it mitigates the formality of the style, does not interfere with the accuracy of the perspective. The view is taken from an elevation at the west end of the wall, looking down on the tables, and commanding the whole company, the Royal party facing you in the distance.

A very characteristic likeness of the Author of Sam Slick (Mr. HALD BURTON') has been sketched by EDAM, and lithographed in the tinted manner by Gaucr. The shrewd observer and kindly but caustic hu- morist, is strongly marked in the expression of the face ; in which, also, a lurking self-complacency may be detected.

The Fourth Part of LANE'S Dramatic Sketches, which was post- poned, has just appeared : the heads of Cooper and Charles Mathews are exactly like—to use a vulgar phrase that is apposite in this case, "55 like as they can stare ;" that of Vestris flatters her in feature, but does not do justice to her expression; and Warde looks like a grim version of John Kemble. The likeness of the two successful drawings, how- ever, lies on the surface merely : they are masks depicting a fixed look, not living faces full of character.

A series of small etchings, entitled Recollections of the Scenic Effects of Covent Garden Theatre daring the Season 1838-9, though very homely and unpretending, merit a word of praise for the perception of character in likeness and attitude shown in these first crude attempts of a very young artist, who promises to do better things. Each number consists of three scenes from some popular play : the first contains the "Tempest," the second " William Tell," and the third " Richelieu ;" the "Lady of Lyons" and the revivals of SHAKSPERE are to follow in succession.