cans; and bear still less to the modern Copts, or any of the three varieties of the human race, red, white, and black, exhibited in the Egyptian tombs. It would be from the purpose to follow up the view here expressed in Italics. It is, however, a peculiar theory of the author of this Review, that the red or American variety were at one time in Egypt. They were not, however, the Tultecans or the sculptured people now referred to. 2. The hieroglyphics of Palanque, Mitzlan, &c. give proofs of an independent and peculiar people. These hieroglyphics, more elegant in their structure than the Chinese, are less elaborate, regular, and varied in outline than the Egyptian. Strikingly beautiful as many of them are (they occasionally resemble the flower letters of our painters; they appear, like the Egyptian Demotic writing, to have reached that stage of their progress, when beauty was sacrificed to utility, and when the pictorial image was almost entirely superseded by the conventional form; they in short bear no inapposite resemblance to modern highly ornamented letters of the Roman alphabet. 3. The astronomical system of the Mexicans must not be confounded as it has been with that of the Tultecans. Although it may have been derived from the latter, there is no proof of the derivation. The whole of this system is exhibited among the plates of this splendid work on "Mexican Antiquities." It is impossible not to be surprised and somewhat humiliated, in discovering that the Mexican Indians, from a very remote period, have possessed a singular system in their division of days, months, years, and centuries, which so far from being inferior to, actually excels that of the most polished nations of the world. It is in vain that sceptics endeavour to trace an origin for this system in imitation. It is in vain that they resort to Greece and to Rome, to Asia and to Egypt, the cradle of Science, to divest the ancient Mexicans of the superior talent and research requisite for this arrangement. From the earliest times in Chaldea, in India, in Rome, in Greece, and in Egypt, the zodiac was divided into twelve signs, and the year into twelve months, averaging thirty days. But the Mexican zodiac is divided into twenty signs, and the year into eighteen months, 101 averaging twenty days. Now this fact alone would seem to go to break all link of connexion between the Mexicans and the ancient people to whom we have referred; or if it had established any connexion, it would seem to go to establish the fact of the Mexicans being a Chinese colony driven out by an eruption of the Tartars (and not improbably that which was headed in 1279 by the Tartar Emperor Coblai). In fact, the calendars of each country strikingly agree; for both nations have no more than 360 days to the year, which they divide into months of twenty days each. Both, as Acosta states, with regard to the Mexicans, begin their year with the 26th of February; and both add five intercalary days to the end of the year. But in this latter point, both agree with the Egyptians; and they were spent among the Mexicans, as they were in Egypt, and throughout the entire East, in eating, drinking, and diversions. But in one point the Mexicans stand alone, namely, in their cycle of fifty-two years, the duplication of which constituted the Mexican century. The astronomical wheel of Carrieri, preserved in a painting by Mr. Aglio, fully bears out this high estimate of Mexican proficiency in astronomy; and this painting illustrates a model of a sculptured cycle of Time in the Museum. In the inner circle the eighteen months are represented by their appropriate symbols; and in the outer, the cycle of fifty-two years is represented in the precise manner described by Acosta; the first year being Tothil, or the rabbit; the next Cagli, the houses; the next Tecpth, the flint; and the next Acath, the end. It appears, then, that the Mexican astronomical system, taken generally, is like that of no other nation, except the Chinese; but that it still bears a partial and minor resemblance to the Egyptian, both in the arrangement and employment in the five intercalated days. The analogy, indeed, between Chinese and Egyptian antiquities, more especially Chinese hieroglyphics and the Egyptian, need not be here insisted upon. The above astronomical coincidence is, however, almost the sole ground of affinity which can be referred to between the Chinese and the Mexicans. The hieroglyphics of Mexico (or rather of the Tulteques) exhibit no other resemblance to the Chinese than what 102 Memoir of James Northcote, Esq. R. A. must naturally ensue from the fact of arbitrary images being conventionally employed to express ideas. The harsh structure of the Mexican pronounced language is as opposite to that of China as consonants are to vowels. Neither, indeed, does it bear a strong resemblance in that respect to the Egyptian. So far every thing indicates the Mexicans an independent and talented race of people, striking out a new astronomical and political system for themselves. But as we began with affirming, so we shall conclude with inferring, from a comparative survey of the valuable records of Mexican art and science contained in these splendid volumes, that there is a strong family likeness between many of them and those of Egypt, which may justify though not prove the opinion of that national affinity, traceable in the religious and astronomical memorials of all the ancient pagan nations. The Cycle in question is evidently constructed so as to represent a wheel. Now wheels we know were unfailing ornaments of Egyptian temples. The Sun in the form of a human face is placed in the centre of Carrieris Wheel, as it is in many of the plani [Aug. spheres of Egypt, preserved by Keicher; and it is similarly surrounded by a symbol universal throughout the East, and more especially a favourite emblem of Egypt, of the two conflicting serpents of light and darkness, of good and evil. The planetary battlements, with the eight houses of the planets, which constitute the third circle out of seven, exhibit the same astrological theory which was current in Persia, India, and Chaldea, as well as in Egypt, and which is preserved in the Rabbinical Sephyroth. Notwithstanding this general resemblance, it must not, however, be forgot, that the numbers of the months, of the days of the month, of the signs of the zodiac, and the various cycles, are purely Chinese. The Mexicans, it would thus appear, may have come from the most eastern parts of Asia, probably from China. Did they really come from Egypt? How came they to possess a perfect hieroglyphical and phonetic language centuries before the Mexicans resorted to, or reverted to, the semi-barbarous expedient of picture writing? These are questions of sufficient importance to be reserved for an exclusive paper. MEMOIR OF JAMES NORTHCOTE, Esq. R. A. (With a Portrait.) THIS eminent artist, and otherwise talented man, was born at Plymouth, where his father was a watchmaker. * The son was apprenticed to the same trade, and never went far from his native town, until he had more than attained the age of manhood. His taste for drawing and painting commenced early, but was little encouraged by his father: however, through the intervention of Dr. John Mudge, F.R.S. a physician at Plymouth, distinguished for some scientific works on the Speculum, he was at length introduced to Sir Joshua Reynolds. Sir Joshua (who was himself a native of Plympton, not far from Plymouth,) was old friend of the Mudge family; and on his tour into the West with Dr. Johnson in the year 1762, had taken him to the house of Mr. John Mudge, then a surgeon, and introduced him to the father, the an Rev. Zachariah Mudge, who was Vicar of St. Andrew's in Plymouth. Mr. Thomas Mudge, brother to the physician, was of the same business as the Northcotes, having occupied the watchmaker's shop in Fleet-street, London, where he was succeeded by Mr. Dutton, a name which still remains. Mr. Northcote had nearly attained his twenty-fifth year, when he arrived in London. Of an age to become a pleasant companion to his master, and connected with him by provincial associations, he quickly became a favourite pupil; whilst his powerful mind, and already able talents for conversation, enabled him to avail himself of all the advantages of that polished society which was accustomed to resort to Sir Joshua's house. Having remained domesticated there for five years on the most agreeable terms, in May 1776 he reluctantly quitted that *The Northcotes are an ancient Devonshire family, deriving their name from Northcote in the parish of East Down. Sir John Northcote, of Hayne, in the parish of Newton St. Cyress, was created a Baronet in 1641; to whose descendant and representative, Sir Stafford Henry Northcote, of Pynes, as the present head of the family, the late Academician has left his family pictures, &c. as noticed in the will hereafter. 1881.] Memoir of James Northcote, Esq. R. A. delightful abode; thinking it was now time to do something for himself, in which idea his preceptor concurred, saying, "I hope we shall assist each other as long as we live." On leaving Sir Joshua, Mr. Northcote commenced portrait painter; and, had he confined himself to that branch of art, there can be little doubt that he would have attained eminence in it, as he had a just perception of character, and his style was free from affectation. However, his imagination led him to the indulgence of the more independent, though less lucrative, study of historical painting. In furtherance of this object, he travelled to Italy, where he remained about three years; during which time he was appointed a member of the Imperial Academy at Florence, of the Ancient Etruscan Academy at Cortona, and the Academy dei Forti at Rome. He was also requested to make a portrait of himself, to be placed among those of distinguished artists which grace the gallery at Florence; the picture he presented on that occasion was at once a faithful portrait, and an exquisite specimen of his professional skill. Mr. Northcote returned to this country in 1780, having visited on his way all the repositories of the Flemish school. When Mr. Northcote had again settled at home, it was quickly perceived that, in pursuing the study of design, he had not mistaken his forte. That meritorious patron of the arts, Mr. Alderman Boydell, had then recently commenced the beneficial mode of giving encouragement to native artists, by publishing engravings from their works. Prints from the designs of Mr. Northcote were seen on the walls of the higher order of dwellings in every part of the kingdom. One of the most admired, entitled "The Village Doctress," had for several years a considerable sale. 103 by his pencil, certainly may be reckoned among the best productions which the Gallery contained. These works manifestly proved how successfully as a colourist he had imbibed the feelings of his illustrious master. Northcote had now attained the zenith of his fame, and in 1790 he was elected a Royal Academician. It Having become enamoured with the dramatic style of composition, Mr. Northcote shortly after was induced to paint a series of moral subjects, illustrative of Virtue and Vice, in the progress of two young women. would seem that these were intended to rival the works of Hogarth; but, although the main points of this graphic drama bore directly upon the subject, the characters were certainly wanting in that great and most essential property-expression, to say nothing of the general deficiency of this series in that painter-like execution, which is so admirably displayed in the Marriage-à-la-Mode, and other works of Hogarth. That Mr. Northcote was enthusiastic in the pursuit of his art, may be inferred from many expressions which escaped him on the impulse of the moment when speaking of certain works of the great masters. He took delight in painting wild animals, both beasts and birds; and on one occasion, whilst making a study of a vulture from nature, he laid down his palette, and clasping his hands, exclaimed, "I lately beheld an eagle painted by Titian, and if Heaven would give me the power to achieve such a work, I would then be content to die." Another expression to which he once gave utterance, though almost the converse of the preceding in regard to sentiment, is equally characteristic of his passionate love of art. "If Providence," said he, "were to leave me the liberty to select my heaven, I should be content to occupy my little painting-room, with a continuance of the happiness I have experienced there, even for ever." In the same little chamber, in his house in Argyll-place, he had pursued his art for nearly half a century, in peace and unmolested. His habits were economical; and his time was valued with correspondent care; for, devoted as he was to conversation, he worked and talked at the same time, and did not pay but only 104 Memoir of James Northcote, Esq. R. A. received visits for the sake of a gossip. He had much of the cynical spirit too prevalent with artists, of depreciating the works and characters of their fellow-labourers; yet was one of those philosophers who at the same time do not forfeit the name of philanthropists,-kind-hearted men who, notwithstanding their accomplishments in the art of reviling any body that crosses their path, are yet ready to go out of the road to do a kindness for anybody. Opie he always spared; living and dead he would stoutly defend his reputation against all opponents; and so great was his veneration for his preceptor Reynolds, that he would never allow any one (but himself) to utter aught to the disparagement of his memory. As an author Mr. Northcote not a little distinguished himself. His earliest publications were some papers in a periodical work called The Artist, as, in the first volume, No. 2, On Originality in Painting; Imitators and Collectors. 4. A Letter from a disappointed Genius; and a Character of John Opie, R.A. 19. A Second Letter from a disappointed Genius. 20. On the imitation of the Stage in Painting. In the second volume, No. 7, The History of the Slighted Beauty, an allegory. He also contributed to the" Fine Arts of the English School," the biography of Sir Joshua Reynolds; which he afterwards expanded into a quarto volume, entitled "Memoirs of Sir Joshua Reynolds, Knt. comprising anecdotes of many distinguished persons his contemporaries, and a brief analysis of his Discourses; to which are added, Varieties on Art," 1813. A Supplement to the work appeared in 1815; and an octavo edition, with considerable additions, in 1819. In 1828 he published, in octavo, "One Hundred Fables, original and selected," embellished with two hundred and eighty engravings on wood, from his own designs. The volume is reviewed in our vol. xcvi. i. 334. His last work, published at the close of last year in two volumes octavo, is "The Life of Titian, with anecdotes of the distinguished persons of his time:" a work containing a vast mass of useful information and reflection on the art of Painting. Mr. Northcote died at his house in Argyll Place, on the 13th of July last. Mr. Northcote frequently took his [Aug. own portrait, and also frequently sat to his brother artists. One of his earliest likenesses is a profile by W, Hoare, which is engraved in mezzotinto by H. Kingsbury. The engraving accompanying the present article is copied from that taken by Mr. Dance in the year 1793, and is a strong resemblance of his appearance in the prime of life. From his own pictures there are engravings by S. W. Reynolds and H. Meyer. There is an intelligent portrait of him in advanced years, by Harlow, prefixed to his Fables; another by Wivell, to Hazlitt's Conversations (mentioned below); and a very delightful one by Harlow has been recently published, engraved by F. C. Lewis. The late Mr. William Hazlitt made notes of his "Conversations" with Mr. Northcote, one series of which he communicated to the New Monthly Magazine, and a second to the Atlas paper. A selection was published last year in an octavo volume, from which we shall add some anecdotes illustrative of Mr. Northcote's personal character; and first the following passages containing his own opinions on his conversational talents: “I have had the advantage of having lived in good society myself. I not only passed a great deal of my younger days in the company of Reynolds, Johnson, and that circle, of whom Sir Joshua (who was certainly used but I was brought up among the Mudges, to the most brilliant society in the metropolis) thought so highly, that he had them at his house for weeks, and even sometimes gave up his own bed-room to receive them." p. 105. “ When W————was here the other day, he asked about Mengs and his school; and when I told him what I thought, he said, Is that your own opinion, or did you take it from Sir Joshua?" I answered that, if I admired Sir Joshua, it was because there was something congenial in our tastes, and not because I was his pupil. I saw his faults, and differed with him often enough. If I have any bias, it is the other way, to take fancies into my head, and run into singularity and cavils."—p. 245. have admired him greatly. I do not speak "You did not know Opie? you would of him as an artist, but as a man of sense and observation. He paid me the compliment of saying that we should have been the best friends in the world if we had not been rivals. I think he had more of this feeling than I had; perhaps, because I had most vanity. We sometimes got into foolish altercations. I recollect once in particular, |