were supported by some small twigs, laid crossways. The gamekeepers of Mr. Eyre, of Passop, Derbyshire, in 1801, observed a wild duck fly out of a large oak, in which the year preceding there was a hawk's nest; upon examining, the nest was found in complete repair, and contained two eggs, recently laid by the duck in it. The number of wild fowl taken in decoys is amazing; these birds have of late years been all contracted for by the London salesmen and poulterers, at so much per dozen. A decoy is generally situated in a marsh, so as to be surrounded with woods or reeds, and, if possible, both, the better to keep the pond quiet, and that the repose of the fowl may not be interrupted; for, in a state between sleep and inactive reverie, the greatest part of the animal world pass their ives, except when they are excited by the call of hunger. In this pond the birds sleep all day; so soon as the evening sets in, the decoy rises (as it is termed), and the wild fowl feed during the night. If the evening is still, the noise of their wings, during their flight, is heard at a great distance, and is a pleasing, though rather a melancholy sound. The decoy ducks (which are either bred in the pond-yard, or in the marshes adjacent; and who, although they fly abroad, regularly return for food to the pond, and are mixed with tame ones, which never quit the pond, and are taught for this purpose), are fed with hempseed, oats, and buckwheat, of which it will take or the use of a pond for a year, about eight quarters of oats, one of hempseed, and one of buckwheat. The other expences are, a man to constantly attend the decoy; every four years the poles and nets will be new, as in the intervening years they will be replaced, some at one time, some at another, so as to be all renewed in the above period. Reeds for repairing skreens, Dutch turf, rent, decoy birds, and many etceteras, are also to be included; and the repayment all depends upon the haunt of fowl which take to the pond. In working, the hempseed is thrown over the skreens in small quantities, to allure the fowl forward into the pipes, of which there are several, leading up a narrow ditch, that closes at last with a funnel-net. Over these pipes, which grow narrower from the first entrance, is a continued arch of netting suspended on hoops: it is necessary to have a pipe for almost every wind that can blow, as upon this circunstance it depends which pipe the fowl will take to ; and the decoy-man always keeps to leeward of the wild fowl, that his effluvia should not reach them; and this he likewise takes a further care to prevent, by keeping a piece of Dutch turf burning in his mouth or hand; for such is the acute sense of smelling which wild fowl possess, that should the pond be full of fowl, if they scented a man, not a bird would remain in it a moment. Along each pipe are placed reed skreens at certain intervals, which protect the decoy-man from being seen, until he pleases to shew himself, or the birds are passed up the pipe, to which they are led by the trained birds, who know the whistle of the decoy-man, or are enticed by the hempseed. A dog, which is generally preferred to be of a red colour, is sometimes used, who is taught to play hackwards and forwards between the skreens, at the direction of his master; the fowl, roused by this new object, advance advance towards it, whilst the dog is playing still nearer to the entrance of the pipes, until at last the decoy-man appears from behind the skreens, and the wild fowl not daring to pass by him, and unable to escape upwards, on account of the net covering upon the hoops, press forward to the end of the funnel-net, which terminates upon the land, where a person, is ready to receive them and break their necks; in doing of which there is much dexterity. The trained birds return back past the decoy-man into the pond again, until a repetition of their services is required. A side wind is the best to work the birds. It was customary formerly to have in the fens an annual driving of the young ducks before they took wing. Numbers of people assembled, who beat a vast tract, and forced the birds into a net placed at the spot where the sport was to terminate. A hundred and fifty dozen have been taken at once; but this practice being supposed detrimental, has been abolished by Act of Parliament, SPORTING SUBJECTS, By RUBENS, REMBRANDT, VANDYKE, and other Artists of the Flemish and Dutch Schools, with which the Proprietors have fatoured the British Institution for the gratification of the public, and for the benefit of the Fine Arts in general, and now exhibiting in Pall-Mall. 1. PORTRAIT of King Charles I. on horseback-Vandyke. 5. A Triumphal processionRubens. 8. Landscape, harvest scene, with a rainbow-Rubens. 16. Bacchanalians-Rubens. 17. The watering place-Ru bens. 21. The elevation of the CrossRubens. 22. Horses of Achilles-Van dyke. 24. Fishing under the iceCuyp. 28. Portrait of a man with a hawk-Rembrandt. 42. Small laudscape, with cattle and figures-Cuyp. 25. The Schoolmaster-Jan Steen. 49. A horse fair-Wouwermans. 50. Landscape, with horses and figures-Wouwermans. 51. Landscape, with horses and figures, a farrier's shop in the background-Wouwermans. 52. Landscape, with cattle and figures-Cuyp. 54. A battle-piece-Wouwer mans. 55. View of Lago di Bolsena, with soldiers guarding prisoners Both. 57. Cattle, with travellers and shepherds-Cuyp. 59. Cattle on the banks of a river-Cuyp. 63. Landscape, with a woman milking a cow in the foreground; on the left, a stable with horsesP. Potter. 69. Cattle at a fountain-Berghem. 70. An allegory of war and peace-Rubens. 71. Landscape, with cattle and horses-Wouwermans. 73. Woman with a rabbit-G. Douw. 75. Boors smoaking-Teniers. 79. Village feast-Teniers. 83. An interior, with figures smoaking-A. Ostade. 85. The village ball-A. Ostade. 89. Boors N2 89. Boors regaling; an interior A. Ostade. 92. A hawking party-Wou wermans. 93. Landscape, with figures and cattle passing a bridge-Cuyp. 97. A village feast-Teniers. 102. A village fete-Teniers. 106. George Villiers Duke of Buckingham on horseback, with allegorical figures-Rubens. 107. Fruit and flowers-Van Huysum. 109. Flowers-Van Huysum. 111. Cattle in a landscape-P, Potter. 114. Mountainous landscape, with cattle and figures-Berghem. 115. Dead bare-Weenix. 117. Figures dancing-Teniers. 122. A fisherman, and a woman with poultry-W. Mieris. 123. Portrait of Marshal Turenne on horseback-Rembrandt. 124. Landscape, snn-set-Rubens. 127. The showman-W. Mieris. 128. Dead stag-Weenix. 129. A procession-Rubens. 130. The temptation of St. Antony-Teniers. 131. The incantation-Teniers. 132. Woman with a parrot Jordaens. 136. Landscape, with cattle and figures-Rubens. 137. A stable, with horses and figures-P. Potter. 138. Fruit and flowers-Van Huysum. at one view to the astonished visi tor, twenty-three pieces by Rubens, twenty-one by Vandyke, as many by Rembrandt, ten by Cuýp, seven by Teniers, the same number by Ostade and Wouwermans, besides many excellent specimens from other masters of considerable repute in their respective style of painting, wants no other encomium but the mere statement of the fact. Indeed it bursts upon the eye like that focus of concentrated light which the genius of Archimedes had first combined, not, as in this case, for the improvement of his friend, but for the destruction of his enemies. The effect, at entering the rooms, is hardly describable, and without any farther comments upon the usefulness of the exhibition, the kindness of the proprietors, and the very elegant and appropriate manner in which these chef d'œuvres are disposed, we must confine ourselves to this simple assertion, that no one can decide whether this exhibition is not even more useful to the artists, than gratifying to the amateurs. No. 1. Portrait of King Charles I. on horseback-by VANDYKE. Vandyke had bappily caught, the beavenly fire that illumined and animated his master's extensive and brilliant mind, yet it seems as if the glow of its transcendent light had been modified in passing through a softer medium, since the pupil gains in sobriety of tints, arrangement in composition, and softness of harmony, what be loses in boldness of thought, magnificence of disposition, and resplendency of colouring, qualities so conspicuous in his master. In this excellent picture, we find him in one of bis happiest efforts towards perfection, which was his A gallery of pictures displaying constant aim, and we mostly agree 139. Landscape; the approach of a storm, with cattle-P. Potter. 144. Flowers-Van Huysum. 145. Dead birds-Gbysels. REMARKS on the SPORTING SUB- with the author of the preface to the catalogue of this exhibition, (though, in other points, we must confess we do not go the same length in opinion) who says, "that it shews how much delicacy of execution may be combined with breadth, and with dignity. No painter," adds be, "knew better how to appreciate these qualities than Sir Joshua Reynolds," who had spent the most part of his pic torial life in wandering in search of them, "and he pronounced this to be the finest equestrian portrait which had ever been produced." The respect we bear to the memory of that great man, the encourager, patron, and father of the British school, will prompt us to assent to that bold assertion, though we feel a few little doubts concerning it, stirring in our mind. However, were we to compare critically this picture, which has passed the ordeal of nearly two centuries, with a modern performance now exhibited in Bedford-street, "Bonaparte ascending the Alps," painted by the Coryphoeus of the French school-were we to bring all its parts in opposition to the latter, surely, without detracting any thing from the well-known talents of the French artist, we could easily make it clear to an eye open to feel the real merits of a picture, that this admirable work of the Flemish master, is infinitely above the successful attempt of David. But our columns are consecrated to sportful, and not to polemic subjects. Our criticism shall always be mild, well grounded, and encouraging; and if, in sporting our opinion, in descanting, by way of digression, upon the fine arts, we can contribute to please the reader without offending the artist, we will sit down content of having performed onr self-imposed duty towards the public. No. 5. A triumphal procession -by RUBENS. The paintings from this master reflect a considerable glow upon this exhibition. They are numerous, and of no mean standard. Were we to notice, as each deserves, every one of them in rotation, we might, perhaps, be more amused in writing, than the reader would be in perusing, our observations. But let it be remembered, that of all painters, Rubens was the most happy in sporting subjects. Snyders, Weenix, and others, painted the external appearance of animals, Rubens caught at their spirit, their passions, their thoughts, if they are allowed any; and we entertain no doubt, but that our best animal painter, Mr. Ward, the Royal Academician, has profited considerably by a close study of Rubens's handling of the spirited brush when he painted his animals. No. 17. The watering place-by RUBENS. The observations upon No. 5, apply so exactly to this, that we have nothing more to say, but that the bold features of the landscape, the grouping of the animals, and the clearness of the whole of this most transparent per formance, entitle it to unfeigned admiration. known to the amateur in the chromatic art. No. 22. The Horses of Achilles -by VANDYKE. There is upon this excellent sketch a floating anecdote, which we have traced to Felibien's Life of Painters. It is said, that paying a visit to his master Rubens, Vandyke received from him, as a present, a most spirited and beautiful horse; and that the performance before our eyes is the identical sketch which Vandyke made of the noble animal as soon as he became possessed of him. The principal figure, the grey horse, full of animation and fire, is represented here as starting through sudden fear. The attitude, which, on account of its fleetingness, must have been caught with surprising quickness by the eye and the mind of the painter; the boldness of the fore shortening, the varied and classical play of the muscles, and the masterly handling which is so conspicuous in every part, prove, beyond doubt, that this performance was executed with care, and con amore by the intelligent master. The fancy in the corner, intended to represent a sudden blast of wind, in order to give a plausible cause for the positura of the horse, seems to have been executed with a single dash of the brush, and is full of enthusiasm. This painting was lent a few years since to the British Institution, for the study of artists, by its liberal proprietor, and we were personally witnesses of their successes in catching the style in their imitations. No. 24. Fishing under the ice by CUYP. This is, perhaps, one of the best performances of the master, and it shews how great he was in the peculiar subjects he had chosen for the exertion of his great talents. We should like to see our modern painters study this beautiful picture with serious attention, and impressed with admiration for it, leave off that sloven style, which, though it may be condu cive to effect, betrays always a want of steadiness and perseverance. All the parts of this performance are made out, and yet, far from debilitating the general effect, they strengthen it in a most admirable manner. No. 28. Portrait of a man with a hawk-by REMBRANDT. We have marked this picture among the sporting subjects, because it is the only one of Rembrandt that glanced in any sort of way towards our sportive columns; but we cannot recommend the study of the noble bird to any pupil, without sporting with his better judgment. Surely the hawk is a mere accessary to the picture, and is painted there as a sort of distinguishing mark, as a bit of lead with an impression at the fag-end of a piece of cloth; yet, if we are allowed to speak our mind, the portrait would have been as good, if not better, without the sporting fowl of the air on the fist of the man. No. 45. The school master-by JAN STEEN. The first sports that the child, who begins to feel a propensity to tricks and fun, indulges himself in, are those antics which be plays with conscious delight behind the stern pedagogue, whose rod makes him yield reluctantly to silence and submission. This picture will afford great pleasure to those who will enter into the spirit of it, since it contains much bumour, and stands high on the list of Steen's curious performances. No. 54. A Battle-piece-by WOUWERMANS. Delicacy of touches, united with the most spirited handling-colouring appropriate |