worthy object. If he shall be induced to do so by reflecting upon what is above written, or if any other young man, endowed with his powers to face danger and bear pain, shall be deterred from wasting them on such exploits, and either reserve himself for higher purposes, or not expose himself to any such bootless hazard, these feeble, but well-meant remarks, will not have been made in vain.

ART. XIII.-Lectures on Sculpture. By John Flaxman, Esq. R.A. 8vo. London. 1829.

THESE Lectures were delivered at the Royal Academy in

an annual Course, instituted expressly for that purpose. They are not, on the whole, ill calculated to promote the object for which they were originally designed,-to guide the taste, and stimulate the enquiries of the student; but we should doubt whether there is much in them that is likely to interest the public. They may be characterised as the work of a sculptor by profession-dry and hard; a meagre outline, without colouring or adventitious ornament. The Editor states, that he has left them scrupulously as he found them: there are, in consequence, some faults of grammatical construction, of trifling consequence; and many of the paragraphs are thrown into the form of notes, or loose memorandums, and read like a table of contents. Nevertheless, there is a great and evident knowledge of the questions treated of; and wherever there is knowledge, there is power, and a certain degree of interest. It is only a pen guided by inanity or affectation, that can strip such subjects of instruction and amusement. Otherwise, the body of ancient or of modern Art is like the loadstone, to which the soul vibrates, responsive, however cold or repulsive the form in which it appears. We have, however, a more serious fault to object to the present work, than the mere defects of style, or mode of composition. It is with considerable regret and reluctance, we confess, that though it may add to the student's knowledge of the art, it will contribute little to the understanding of it. It abounds in rules rather than principles. The examples, authorities, precepts, are full, just, and well-selected. The terms of art are unexception ably applied; the different styles very properly designated; the mean is distinguished from the lofty; due praise is bestowed on the graceful, the grand, the beautiful, the ideal; but the reader comprehends no more of the meaning of these qualities at the

end of the work than he did at the beginning. The tone of the Lectures is dogmatical rather than philosophical. The judgment for the most part is sound, though no new light is thrown on the grounds on which it rests. Mr Flaxman is contented to take up with traditional maxims, with adjudged cases, with the acknowledged theory and practice of art: and it is well that he does so; for when he departs from the habitual bias of his mind, and attempts to enter into an explanation or defence of first principles, the reasons which he advances are often weak, warped, insufficient, or contradictory. His arguments are neither solid nor ingenious: They are merely quaint and gratuitous. If we were to hazard a general opinion, we should be disposed to say that a certain setness and formality, a certain want of flexibility and power, ran through the character of his whole mind. His compositions as a sculptor are classical,—cast in an approved mould; but, generally speaking, they are elegant outlines,―poetical abstractions converted into marble, yet still retaining the essential character of words; and the Professor's opinions and views of art as here collected, exhibit barely the surface and crust of commonly-received maxims, with little depth or originality. The characteristics of his mind were precision, elegance, cool judgment, industry, and a laudable and exclusive attachment to the best. He wanted richness, variety, and force. But we shall not dwell farther on these remarks here; as examples and illustrations of them will occur in the course of this article.

The first Lecture, on the history of early British Sculpture, will be found to contain some novel and curious information. At its very commencement, however, we find two instances of perverse or obscure reasoning, which we cannot entirely pass over. In allusion to the original institution and objects of the Royal Academy, the author observes, that as the study of Sculpture was at that time confined within narrow limits, so the appointment of a Professorship in that art was not required, until the increasing taste of the country had given great popularity to the art itself, and native achievements had called on the powers of native Sculpture to celebrate British heroes and patriots.' Does Mr Flaxman mean by this to insinuate that Britain had neither patriots nor heroes to boast of, till after the establishment of the Royal Academy, and a little before that of the Professorship of Sculpture? If so, we cannot agree with him. It would be going only a single step farther to assert that the study of Astronomy had not been much encouraged in this country, till the discovery of the Georgium Sidus was thought to call for it, and for the establishment of an Observatory at Greenwich! In the next page, the Lecturer remarks, Paint

ing is honoured with precedence, because Design or Drawing ' is more particularly and extensively employed in illustration of history. Sculpture immediately follows in the enumeration, because the two arts possess the same common principles, expressed by Painting in colour, and by Sculpture ' in form.' Surely, there is here some confusion, either in the thoughts or in the language. First, Painting takes precedence of Sculpture, because it illustrates history by design or form, which is common to both; next, Sculpture comes after Painting, because it illustrates by form, what Painting does not illustrate by form, but by colour. We cannot make any sense of this. It is from repeated similar specimens that we are induced to say, that when Mr Flaxman reasons, he reasons ill. But to proceed to something more grateful. The following is a condensed and patriotic sketch of the rise and early progress of Sculpture in our own country:

The Saxons destroyed the works of Roman grandeur in Britain, burnt the cities from sea to sea, and reduced the country to barbarism again; but when these invaders were settled in their new possessions, they erected poor and clumsy imitations of the Roman buildings themselves had ruined. The Saxon Painting is rather preferable to their Sculpture, which, whether intended to represent the human or brutal figure, is frequently both horrible and burlesque. The buildings erected in England from the settlement of the Saxons to the reign of Henry I., continued nearly the same plain, heavy repetitions of columns and arches. So little was Sculpture employed in them, that no sepulchral statue is known in England before the time of William the Conqueror.

Immediately after the Roman Conquest, figures of the deceased were carved, in bas-relief, on their gravestones, examples of which may be seen in the cloisters of Westminster Abbey, representing two abbots of that church, and in Worcester Cathedral, those of St Oswald and Bishop Wulstan. The Crusaders returned from the Holy Land; eager to imitate the arts and magnificence of other countries, they began to decorate the architecture with rich foliage, and to introduce statues against the columns; as we find in the west door of Rochester Cathedral, built in the reign of Henry I. Architecture now improved; Sculpture also became popular. The custom of carving a figure of the deceased in bas-relief on the tomb, seems likely to have been brought from France, where it was continued, in imitation of the Romans. Figures placed against columns might also be copied from examples in that country, of which one remarkable instance was a door in the church of St Germain de Prez, in Paris, containing several statues of the ancient kings of France, projecting from columns; a work of the 10th century, of which there are prints in Montfaucon's Antiquities.

Sculpture continued to be practised with such zeal and success, that in the reign of Henry III. efforts were made deserving our respect and attention at this day. Bishop Joceline rebuilt the Cathedral Church of Wells from the pavement, which having lived to finish and dedicate, he

died in the year of our Lord 1242. The west front of this church equally testifies the piety and comprehension of the Bishop's mind; the sculpture presents the noblest, most useful and interesting subjects possible to be chosen. On the south side, above the west door, are alto-relievos of the Creation in its different parts, the Deluge, and important acts of the Patriarchs. Companions to these on the north side are altorelievos of the principal circumstances in the life of our Saviour. Above these are two rows of statues larger than nature, in niches, of kings, queens, and nobles, patrons of the church, saints, bishops, and other religious, from its first foundation to the reign of Henry III. Near the pediment is our Saviour come to judgment, attended by angels and his twelve apostles. The upper arches on each side, along the whole of the west front, and continued in the north and south ends, are occupied by figures rising from their graves, strongly expressing the hope, fear, astonishment, stupefaction, or despair, inspired by the presence of the Lord and Judge of the world in that awful moment. In speaking of the execution of such a work, due regard must be paid to the circumstances under which it was produced, in comparison with those of our own times. There were neither prints nor printed books to assist the artist. The Sculptor could not be instructed in Anatomy, for there were no Anatomists. Some knowledge of Optics, and a glimmering of Perspective, were reserved for the researches of so sublime a genius as Roger Bacon, some years afterwards. A small knowledge of Geometry and Mechanics was exclusively confined to two or three learned monks in the whole country; and the principles of those sciences, as applied to the figure and motion of man and inferior animals, were known to none! Therefore this work is necessarily ill drawn, and deficient in principle, and much of the sculpture is rude and severe; yet in parts there is a beautiful simplicity, an irresistible sentiment, and sometimes a grace, excelling more modern productions.

It is very remarkable that Wells Cathedral was finished in 1242, two years after the birth of Cimabue, the restorer of painting in Italy; and the work was going on at the same time that Nicolo Pisano, the Italian restorer of sculpture, exercised the art in his own country: it was also finished forty-six years before the Cathedral of Amiens, and thirty-six before the Cathedral of Orvieto was begun; and it seems to be the first specimen of such magnificent and varied sculpture, united in a series of sacred history, that is to be found in Western Europe. It is, therefore, probable that the general idea of the work might be brought from the East by some of the Crusaders. But there are two arguments strongly in favour of the execution being English: the family name of the Bishop is English, "Jocelyn Troteman ;" and the style, both of sculpture and architecture, is wholly different from the tombs of Edward the Confessor and Henry III., which were by Italian

artists.

The reign of Edward I. produced a new species of monument. When Eleanor the beloved wife of that monarch died, who had been his heroic and affectionate companion in the Holy War, he raised some crosses of magnificent architecture, adorned with statues of his departed queen, wherever her corpse rested on the way to its interment in Westminster

Abbey. Three of these crosses still remain, at Northampton, Geddington, and Waltham. The statues have considerable simplicity and delicacy; they partake of the character and grace particularly cultivated in the school of Pisano; and it is not unlikely, as the sepulchral statue and tomb of Henry III. were executed by Italians, that these statues of Queen Eleanor might be done by some of the numerous travelling scholars from Pisano's school.

The long and prosperous reign of Edward III. was as favourable to literature and liberal arts, as to the political and commercial interests of the country. So generally were painting, sculpture, and architecture encouraged and employed, that besides the buildings raised in this reign, few sacred edifices existed, which did not receive additions and decorations. The richness, novelty, and beauty of architecture may be seen in York and Gloucester Cathedrals, and many of our other churches: besides the extraordinary fancy displayed in various intricate and diversified figures which form the mullions of windows, they were occasionally enriched with a profusion of foliage and historical sculpture, equally surprising for beauty and novelty. In the chancel of Dorchester Church, near Oxford, are three windows of this kind, one of which, besides rich foliage, is adorned with twenty-eight small statues relating to the genealogy of our Saviour; and the other two with alto-relievos from acts of his life.'

Mr Flaxman then proceeds to trace the progress of Sculpture, and the growing passion for it in this country, through the reign of Henry VII. to the period when its prospects were blighted by the Reformation, and many of its monuments defaced by the Iconoclastic fury of the Puritans and zealots in the time of Charles I. The Lecturer seems to be of opinion that the genius of sculpture in our island was arrested, in the full career of excellence, and when it was approaching the goal of perfection, by these two events; which drew aside the public attention, and threw a stigma on the encouragement of sacred sculpture; whereas, it would perhaps be just as fair to argue, that these events would never have happened, had it not been for a certain indifference in the national character to mere outward impressions, and a slowness to appreciate, or form an enthusiastic attachment to objects that appeal only to the imagination and the senses. We may be influenced by higher and more solid principles,-reason and philosophy; but that makes nothing to the question. Mr Flaxman bestows great and deserved praise on the monuments of Aylmer de Valence, Earl of Pembroke, and Edmund Crouchback, in Westminster Abbey, which are by English artists, whose names are preserved; but speaks slightingly of the tomb of Henry VII. and his wife, in Henry VII.'s Chapel, by Torregiano; from whom, on trivial and insufficient grounds, he withholds the merit of the other sculptures and ornaments of the chapel. This is prejudice, and not