been inferior to any sculptor born in the southern, western, or middle counties of England. There are no doubt certain circumstances better adapted for calling a particular species of talent into action in one country than another; but genius itself is an universal heritage in respect to locality.

It is a disgrace to the nation that all public works have not been thrown open to competition, and left to the choice of a judicious selection of men, deeply versed in art. Either a public work is now given to one favoured individual, or a committee, wholly incompetent for the purpose, is chosen to decide on the plan. This is an old objection, and has been answered by a defiance to prove that the committees hitherto nominated have not taken the best design offered to them. If such were uniformly the case, we should indeed have good ground to despair of ever seeing the state of sculpture in this country other than it is at present; but we hope better things.

Committees, as generally constituted, are the worst means possible of deciding on the excellence of Art. Among such, interest is ever at play; and one or two real judges of art among them are sure to be little regarded. A city alderman who has grubbed his way to civic honours, however commendable for his industry and his powers of digestion, is but a sorry judge on such a subject. His idea will be, how he shall benefit some particular individual who has been recommended to him, by interesting the committee on his own side of the question; or, if he piques himself upon his taste, he will choose that design which is most encumbered with laurels and sprawling figures of Fame or Glory. If Government committees have had the reputation of being better than City ones, because, as is really the case, there are so many men of acknowledged taste among our nobility and senators-though it does not follow that such are always among the judges selected on similar occasions-it is curious that they should belie their better judgments, and after pompous sittings and grave deliberations, only shew the nation that "Parturiunt montes, nascitur ridiculus mus."

We have been led to these remarks by the publication of a design for a Monument to the memory of his late Majesty George III. If an instance were wanting to shew how ill adapted the generality of committees are for deciding on these matters, the present is a most convin

eing case, exactly in point. We know not who the individuals may be constituting this court of taste: we cannot therefore speak of them with prejudice, but simply from their conduct and the specimen of their labours laid before the public; and upon that specimen we congratulate both them and the country! They appear to have made no selection of a design from the studies of our best sculptors: after opening a fair competition among British artists; these they have excluded entirely, and taken a shorter road to their object. They fixed upon a design composed of the figures of Fame and Victory, stolen from the monuments in Westminster Abbey; and the Venetian horses and car of the Place Carousel, decorated with St. George's Cross, Commerce, the Fine Arts, Agriculture, and Religion, in the common allegorical taste. The Car itself contains a clumsy figure of his late Majesty, crowned with laurel of course, as represented upon our copper coin, and holding the crown and sceptre of the Tower regalia in his hands. To increase the allegorical attractions, a monster, no portion of which is to be found in Shaw or Pennant, among the creation of nature, is placed under the fore-feet of the horses; as if it were designed to depart as far as possible from truth and propriety.

Here was a noble opportunity for honouring the memory of our late Sovereign by a monument declaratory of the state of the fine arts at the time of its erection, and worthy of a powerful empire. No miserable court patronage should have been suffered to contravene these objects. Simplicity and originality should have been indispensable. Time should have been given, that the best artists in the nation might have matured designs. Those designs should have undergone the most scrupulous criticism, by men of acknowledged taste, and by artists. The reverse of this mode of proceeding has been adopted, and with a felicity in error unmatched until now, an architect, highly patronized, has been chosen to make the present design, thus excluding a competition among British sculptors. We were not before sensible, that the perfection of architecture had been attained in England, so that there was nothing more left for its professors to learn; and that, in consequence, they were at liberty to begin new studies, We did not conceive that their progress in art, and their noble daring, had yet justified them, like Michael Angelo, in attempting the union of the two professions in one individual. Some may be in

clined to urge in their favour, that their exuberant stock of inventive acquirements might be as harmlessly suffered to evaporate in sculptural designs, as in degrading their imitations of the majestic pediments of the ancients, by garnishing them with towers; thus putting beyond question the orthodoxy of our new churches, by accommodating them with a chime for treble bob majors. We, however, are among those who think otherwise. We know that court favour can do the most miraculous thing on earth, after an Act of Parliament; but it has now, for the first time, metamorphosed an architect into a sculptor. This is something like real transmutation; it is the true philosopher's stone. Our portrait-painting academy may be one day changed by its magic into an academy of mathematicians, as our profound Oxonians metamorphose a whiskered German hussar into an LL. D. Nay, they may be made hereditary adepts in fluxions, as was once done at a German university. Thus a royal road to geometry will be discovered at last!

But what British artist of merit will model this work under the humiliating circumstances in which he must undertake it? If there be a high and just feeling among our sculptors-if they regard their future reputation, the best among them will decline the undertaking with indignation. Posterity will not credit that an architect designed a work which Mr. or Mr. -executed; but the sculptor must father it "with all its imperfections on its head." The desire of fame is the main thing cherished among men of character in art; it is grounded on elevated sentiments, and it infuses a freedom and spirit into their works. Who then would be mean enough to cast a lasting stigma on his reputation by working up the design of another, and taking the responsibility for its defects? Let us imagine an Athenian mason drawing a design for Phidias and instructing him how to model it!

The nameless committee,it matters not who may have composed it, deserves no respect or mercy from any quarter, for the wound it has inflicted upon art. It has sanctioned absurdities that were beginning to die away as a better taste dawned among us. Nature, and nothing but nature, rigid truth, and the purest unmeretricious simplicity only, can be tolerated in such a work as the present. Allegories, if of the best order, are, in sculpture as well as in painting, always less interesting than real facts; for they

VOL. III. NO. VI,

are always either old, common-place, or far-fetched. Dragons, gorgons, and chimeras, are a perversion of taste, and fit only for those who relish the temptation of St. Anthony in a monkish daub, but feel no regard for the beautiful forms of nature or antiquity. If an artist of taste venture out of the circle of nature, he selects those forms which induce the mind to believe that his creation is part of the family of humanity. The centaurs and satyrs of the ancients were combinations of well-formed animals with the human body. The Caliban of Shakspeare, and the Sin, Death, and Satan, of Milton, possess outlines of nature, one of them in her finest form. The Angel of the Hebrews, and the mythological objects of the ancient Heathen worship, were drawn from the most beautiful living objects in creation; so that the imagination needed no effort to believe them real existencies. The superstition of the darker ages of Christianity peopled hell, and even earth in some places, with monsters, the offspring of diseased fantasy. The dragon of the Cappadocian freebooter St. George, is one of the latter description, and one of the best; it is a most ugly representation of this dragon, with three additional heads, which has been introduced into the present "splendid conception," as it has been denominated. This monster is sufficiently" splendid " to ornament a bomb-carriage, and to decorate the parade-ground of the horseguards; but it is no proper adjunct to a work of high art. Sculpture is an imitation of perfected nature, and should exclude such figures from their vulgarity, for they have been multiplied upon tombs, monuments, and alehouse signs, beyond satiety, even to disgust. Ninetynine artists out of a hundred would have made designs similar to the present a hundred years ago, in darker times of British art, provided the newspapers had brought the Venetian horses on the tapis in consequence of some contingent event. The only difference, perhaps, would have been, that all but half a dozen of such designs would have shewn a full-bottomed wig on the head of his Majesty, and a crown over it.

It is more than surmised that this gorgeous effort of British taste in the 19th century is to be carried into effect at the public expense. Had it been a bantling fostered by private subscription, and had the committee been formed from among the subscribers, it should have been as sacred to them as the dragon upon Bow-church is to its parishioners,

20

and as secure from our censures. But the case, we are led to believe, is otherwise; and the extravagance of the commendation which has been bestowed upon it, is in furtherance of the job, and a precursor to its speedy completion. We, therefore, protest against it in the name of good taste, of British sculpture, and of national character in art. Let us have a work which is simple and original, designed and executed by a British artist in the best style of which he is capable. Let us have any thing from Chantrey, Flaxman, or Westmacott, and not a monument designed by an architect, defective in originality, vulgar in conception, and, as will inevitably be the case if carried into effect by inferior artists, deficient in execution. Let not the British public have a work palmed upon it for the finger of the scoffer to point at, and to call up a blush of shame on the faces of its posterity.

Exhibitions of British Art open upon every side, and few things more rationally interesting can appear before any public. The British Institution, with its attractive picture "The Feast of Belshazzar"-the exhibition of Mr. Haydon's historical pictures, and the gallery of the truly patriotic Sir John Leicester, have already been noticed in our pages. Besides these, "The Society of Painters in Water Colours" have exhibited works of surpassing beauty, unrivalled in any other country. "The Exhibition of Engruings by living British Artists" has been opened in Soho Square, and is a most delightful collection of unequalled excellence in that walk of art. Mr. Hoffland has exhibited A View of Richmond, originally designed for the Royal Academy, to which he has added some other pieces. It seems that the multitude of portraits sent to the Royal Academy for exhibition was so great as to exclude Mr Hoffland's picture from an eligible situation. How deeply is it to be regretted that a host of unmeaning heads, possessing no intellectual attraction, should be allowed to choke up the rooms of the Academy, and nauseate the public. Really we think that a portrait or two of some interesting persons by Sir T. Laurence, in each exhibition, would sufficiently shew, what does not require such confirmation, his exquisite skill in that branch of artthat the other academicians should send as few as possible, and be content to satisfy their ambition with the reflection, that a national academy ought not to be a show-room of portraits, though conducive, perhaps, to their private inter

ests in the way of emolument or ambition-finally, that the heads of bewigged judges and bishops, dowager duchesses, children in leading-strings, empty-headed dandies, peers known only in Debrett, and gormandizing aldermen, had better be reserved for the academician's private gallery. The portrait of Byron, Scott, or Wellington, or that of any eminent intellectual individual, creates a feeling of interest in the beholder, and is an attractive object, nay, it is a part of literature or history; but what communion can such hold with the motley crowd whose visages cover the academy walls, and exclude finer specimens of art! We venture to predict, that if the head of every booby who can afford to pay for the translation of its inane expression on an unlucky piece of canvass, is thus suffered to occupy the place of better things, meritorious artists will leave the walls of the academy entirely. If each academician must exhibit his full stock of portraits, let the Academy build an additional room out of the ample funds its exhibitions have supplied it with. Mr. Glover has opened an exhibition of his charming works. Mr. Ward has exhibited an Allegorical picture of the Battle of Waterloo. It displays considerable, though misused talent; we had hoped that allegorical painting, on a great scale at least, was in the grave "of all the Capulets." Mr. Ward has called it from its dusty habitation, neither for his own advantage, nor for that of the conquerors at Waterloo. First, however, in a national view, is the Annual Exhibition of the Royal Academy, a notice of which will be given in a following number.

The Marquis of Stafford and Earl Grosvenor permit viewing their noble collections by tickets, as well as Mr. Thomas Hope. A gallery is also erecting by the sons of the late Mr. West, for an exhibition of the works of that venerable artist. Thus London, at present, teems with shows of art, that cannot fail in the end to purify the public taste, while, at the same time, they afford a delightful visual entertainment.

We hear that a view of Carlisle, in aquatinta, from a drawing by Robert Carlyle, 19 inches by 14, is very highly spoken of. Few English cities present so fine an object for the artist, in regard to picturesque effect, or to the beholder from historical association. We have not seen the work, but have been assured that it will confer fresh honour on British art.

Illustrations of Shakspeare, by Robert Smirke, R.4.-The first number of this

work has been published by Messrs. Heath and Hamilton, and is to consist of 37 numbers, one every three months. The present part contains, (in a wrapper with the bust-portrait of Shakspeare neatly engraved on steel,) six plates illustrative of The Tempest. They are beautifully done. 1. Caliban bearing a load of wood, and cursing with bitterness. The figure from Mr. Smirke's painting is replete with character; and the engraving by Mr. C. Heath, in his best manner. 2. Prospero, Miranda asleep, and Ariel entering. The plate is by Engleheart. 3. Caliban, Trinculo, and Stephano. In this Mr. Smirke has borrowed from himself: it is the coun

terpart of the same scene in Boydell's Shakspeare. 4. Miranda, Sebastian kneeling, and Prospero observing. The lady provokingly short, the lover in the usual style, and the picture altogether common-place. 5. Trinculo, Stephano, Caliban, and Ariel, engraved by E. Portbury. There is great humour and great beauty in this: Mr. Smirke's forte appears to be humour. Trinculo in his robes is admirable; and the mischievous leer of Caliban, and the drunken swagger of Stephano, equally good. 6. The Denouement, engraved by S. Davenport. Here again Miranda is a head too short; the rest are well grouped, and the background spirited.

Oxford, April 21.-The Picture Gallery, in this University, has lately been embellished by models of the Temple of Neptune, in Pæstum, and of the Amphitheatre, at Verona.

The whole number of Degrees in Lent was D.D. 7.-D. Medicine 1.-B. D. 5. -B. C. L. 2.-M. A. 31.-B.A. 22. Matriculations, 121.

The Rev. Hugh N. Pearson, M. A. of St. John's College, is admitted Bachelor and Doctor in Divinity, Grand Compounder; and the Rev. Charles Goddard, M.A. of Christ Church, and Archdeacon of Lincoln, &c. is admitted Bachelor in Divinity, Grand Compounder.

Trinity College, Dublin.-At the examination lately held in this University, the premiums bestowed by his Grace the Lord Archbishop of Armagh, Lord Primate of all Ireland, for promoting the study of the Hebrew language, were obtained by the undernamed students, Bachelors of Arts :-Thompson, Sillery, Doyle, Hassard, Kyle, Mason, Bryans, and Cosgrave.

Royal Society of Literature.-His Majesty having been pleased to express his approbation of this Society; and having honoured it with his patronage, by assigning the annual sum of one hundred guineas each, for ten Associates, payable out of the privy purse, and also an annual premium of one hundred guineas for the best dissertation on some interesting subject, to be chosen by the council of the Society :

The following regulations have been adopted as the basis of its proceedings. Objects of the Society.-The objects of the Society are, to unite and extend the general interests of literature; to reward

literary merit by patronage; to excite literary talent by premiums; and to promote literary education by bestowing exhibitions at the universities and public schools, in cases of distinguished desert.

Constitution of the Society.-1. The Fellows constitute the principal body of the Society, and contribute to its support by subscriptions and benefactions. Every person elected a Fellow of this Society, shall pay annually the sum of two guineas, or more, at their option, or a proportional composition in lieu of the annual payments; and no person can be proposed for election unless on the recommendation of at least three Fellows.

2. The Associates form that portion of the Society to which its patronage is directed; they are to consist of two classes, viz. Associates under patronage, whether of the King, or of the Society; and Honorary Associates; from which latter class the Associates under patronage will chiefly be elected.

The class of Associates under patronage is to consist of persons of distinguished learning, authors of some creditable work of literature, and men of good moral character, ten on the royal endowment, of whom shall be natives of the United Kingdom, and Foreigners; and an unlimited number on the funds of the Society, as soon and in proportion as the amount funded shall be sufficient for the purpose: the whole number, both on the royal endowment, and on the funds of the Society, to be appointed by the council of the Society.

Authors desirous of becoming Associates, shall send a specification of their works; which being approved by the council of the Society, they will be eli

gible to the class of Honorary Associates; to which class no person shall be elected, but on the recommendation of at least three Fellows of the Society.

Every Associate under patronage shall, at his admission, choose some subject, or subjects of literature, upon which he will engage to communicate within the year a paper or papers for the Society's Memoirs of Literature; of which memoirs a volume will be published by the Society from time to time.

3. The Honorary Members shall be such persons as are entitled to public respect on account of their literary characters; and are to consist of professors of literature in the several universities of the United Kingdom; head masters of the great schools of royal foundation, and other great schools; eminent literary men in the United Kingdom; distinguished female writers; and also foreigners celebrated for literary attain

ments.

Benefactions and Subscriptions.-1. An annual subscription of ten guineas continued for five years, and engaged to be continued at least five years more, or, a benefaction of one hundred guineas, will entitle such subscribers and benefactors to privileges hereafter to be declared, according to the date of their subscription. The same privileges to be extended to all other subscribers, or benefactors, when their respective subscriptions, or benefactions, shall collectively amount to one hundred guineas.

2. Honorary Members may become subscribers or benefactors; and, in order that every member of the society may have an opportunity of contributing to its support, the Associates, of both classes, will be at liberty to subscribe one guinea per annum. Voluntary subscriptions or benefactions from ladies or other persons, not desirous of becoming members of the society, shall be received, and a list of such contributors shall be inserted in the Society's Memoirs, From the month of November to July, both inclusive, with the exception of the weeks of Christmas, Easter, and Whitsuntide, it is proposed, that a weekly meeting of the society shall be held on every Thursday, at two o'clock.

The detailed laws will of course settle more minute particulars and regulations. At present a provisional council is engaged on framing these, and conducting the other affairs of this royal endowment. The ten Royal Associates have been already proposed, two joint secretaries named, and, in fine, the whole is in train

Dramatic Copyright. A pamphlet published on this subject in 1819, in the shape of a letter to the Hon, G. Lamb, has the following plan to preserve the rights of authors from the voracious grasp of play-managers :

:

"The literature of the drama might be protected in England upon the same principles as in France. It is there admitted that the attraction of a theatrical entertainment depends as much upon the author as the actors; and that the author is therefore entitled to a share of the profits, whenever and wherever his production is represented. The government collects and pays, to him or his descendants, a portion of the receipts of every theatre in the kingdom, on every occasion that his piece is performed. This would be a work of considerable difficulty in Great Britain; and I would therefore propose that, upon the same just principle, but attained by different means, every theatre, either of the metropolis or the provinces, should be constrained to apply to the Lord-Chamberlain, or any other public officer, for license to represent any new piece, which either might be offered in MS. to the proprietors, or which they might be induced to play, from any celebrity which might follow its publication; and that such license should be conceded to each theatre, either for a term of years or perpetually, upon payment of a sum to be regulated by the number of the audience which such theatre could accommodate. the same principle might be asserted by an enactment enabling the author to make a like agreement immediately with any theatre, by being secured that his piece should nowhere be exhibited without his permission. The great object which I have at heart in this address is, to secure a fair ordeal for theatrical literature. It may be said that a dramatic author is not at present restricted in his appeal to the public though the medi

Or