its direction on the bishop of Quito, a prelate eminently distinguished by his talents and zeal for the public good. To the end that the society should be established on a solid basis, a selection was made of twenty-four individuals, distinguished as well by their patriotism, as by a profound knowledge of the branches of agriculture, commerce, and manufactures, and consequently best able to discern whatever might lead to the improvement of each. The secretary, Don Francisco Xavier, shortly after announced the intention of the society to publish a periodical work, under the modest title of “the First Fruits of the Culture of Quito;” the first number of which accordingly made its appearance at the commencement of 1792, and which was continued once a fortnight. In the preliminary instruction drawn up by Xavier, Quito is represented as a country sufficiently enlightened to be aware of the necessity of recurring to a more solid literary civilization. “This periodical work,” he observes, “is therefore proposed as a trial of the strength the geniuses of Quito may possess, to accomplish their journey to the temple of wisdom.”
In Quito, as well as in all the principal cities of Peru, the mestizos are distinguished by their fondness for the fine arts, which they cultivate with an uncommon degree of success. Although, in the prosecution of their studies, they are denied the advantage of the models which are elsewhere deemed so essential to improvement, many of their productions, both in painting and sculpture, have excited the admiration of the virtuosi of Europe. A mestizo professing a liberal art, and accompanied by his young pupil, is represented in Plate XVIII.
