The next imaginary improvement of the moderns is the representing the effects of perspective in bas-relief. Of this little need be said; all must recollect how ineffectual has been the attempt of modern sculptors to turn the buildings which they have introduced as seen from their angle, with a view to make them appear to recede from the eye in perspective. This, though it may show indeed their eager desire to encounter difficulties, shows at the same time how inadequate their materials are even to this their humble ambition.

The ancients, with great judgment, represented only the elevation of whatever architecture they introduced into their bas-reliefs, which is composed of little more than horizontal or perpendicular lines; whereas the interruption of crossed lines, or whatever causes a multiplicity of subordinate parts, destroys that regularity and firmness of effect on which grandeur of style so much depends.

We come now to the last consideration; in what manner statues are to be dressed, which are made in honour of men, either now living, or lately departed.

This is a question which might employ a long discourse of itself: I shall at present only observe, that he who wishes not to obstruct the artist, and prevent his exhibiting his abilities to the greatest advantage, would certainly not desire a modern dress.

The desire of transmitting to posterity the shape of modern dress must be acknowledged to be purchased at a prodigious price, even the price of every thing that is valuable in art.

8 Raffaelle, who copied many of his heads and figures from the ancient bas-reliefs, imitated also this simplicity in the architecture of his back-grounds. And these, as they are always constructed upon the principles of parallel perspective, not only assist him in leading the mind of the spectator back to the more primitive ages, but also contribute very much to give his works that grandeur which arises from regularity and repetition of simple forms. Nor does such treatment belong exclusively to the severe and higher works of historical composition, but we find it capable of ennobling the lower walks of art, and was uniformly adopted by the late Sir David Wilkie, who, from the combination of expression, character, and mode of telling the story, has been known by the appellation of the Raffaelle of familiar life.

Working in stone is a very serious business; and it seems to be scarce worth while to employ such durable materials in conveying to posterity a fashion, of which the longest existence scarce exceeds a year.

However agreeable it may be to the antiquary's principles of equity and gratitude, that, as he has received great pleasure from the contemplation of the fashions of dress of former ages, he wishes to give the same satisfaction to future antiquaries: yet, methinks, pictures of an inferior style, or prints, may be considered as quite sufficient, without prostituting this great art to such mean purposes.

In this town may be seen an Equestrian Statue in a modern dress, which may be sufficient to deter future artists from any such attempt: even supposing no other objection, the familiarity of the modern dress by no means agrees with the dignity and gravity of sculpture."

9 The statue of the Duke of Cumberland in Cavendish Square has, however, found a worthy compeer in that of George the Third in Pall Mall East, which proves sculptors are not so easily deterred as Reynolds supposed. Nor is the pig-tailed monarch of Wyatt more ridiculous than the bishops' wigs by Chantrey. What can appear more absurd than a lump of stone behind the human head, like half a cheese or a porter's knot? In painting, many things can be tolerated, and even rendered useful, from their colour or the treatment of the back-ground, but sculpture has less assistance than even the dryest style of painting, and therefore requires to be more chaste and pure: it is "not for an age, but for all time;" otherwise the fashions of one century will remain a laughing-stock to the succeeding. In Greece, the climate, and the games, and customs of the people, brought them more in contact with the exhibition of the naked figure; and therefore, even a priest of Apollo officiating at the altar could be represented undressed, as in the sculpture of the Laocoon; but it is a very different affair with us in England; an English admiral cannot be represented naked boarding a seventy-four without creating a smile; nor chiseled out at full length with a Queen Anne's wig on his head and Roman cuirass on his stomach, without our present laughter, and yet these are the absurdities but of yesterday. The Romans have represented many of their figures in the costume of the time, but it must be remembered that the dresses of their senators and their generals were unchanged and of ancient origin; while ours are subject to a sliding scale, more changeable than the moon. This will always make it an affair of the greatest difficulty in sculpture; something must be conceded to the taste of the time and for the sake of resemblance, and something to give the dress the air of drapery and antique simplicity. Reynolds has recommended this course in portrait painting, and Chantrey has made admirable use of it in dressing his figures: the soldier in his military cloak, and the professor and divine in their gowns, are an extension of this principle; and where his subject has neither, he has adopted a robe de chambre, which is a nearer approach to

Sculpture is formal, regular, and austere; disdains all familiar objects, as incompatible with its dignity; and is an enemy to every species of affectation, or appearance of academical art. All contrast, therefore, of one figure to another, or of the limbs of a single figure, or even in the folds of the drapery, must be sparingly employed. In short, whatever partakes of fancy or caprice, or goes under the denomination of picturesque, (however to be admired in its proper place,) is incompatible with that sobriety and gravity which are peculiarly the characteristics of this art.

There is no circumstance which more distinguishes a well-regulated and sound taste, than a settled uniformity of design, where all the parts are compact, and fitted to each other, every thing being of a piece. This principle extends itself to all habits of life, as well as to all works of art. Upon this general ground, therefore, we may safely venture to pronounce, that the uniformity and simplicity of the materials on which the sculptor labours, (which are only white marble,) prescribe bounds to his art, and teach him to confine himself to a proportionable simplicity of design.10

drapery than a coat and waistcoat. This, however, like every shift, wears out, and it would be ridiculous to dress every man in a morning gown: it is necessary, however, to allude to it here, that the student may take advantage of the hint, and that the general reader may make every allowance for the difficulty.

10 On commencing the notes to this Discourse, I had hoped to find more matter that could be made available, and which could be condensed into small compass. True sculpture, however, being but a true representation of beautiful Nature, affords less scope for criticism than painting, which owes its excellence to a combination of various adjuncts: all dressed sculpture must, therefore, be a deterioration, as it cannot give harmony of colour as a compensation; and all sculpture must be faulty whose boundary line taken in mass is not agreeable, as it wants the assistance of back-ground in which defective form may be lost. This is particularly observable in figures in bronze; for in that case the general shape only meets the eye, without even the help of light and shade, which assists in giving richness and variety to marble groups. Hence the justness of Reynolds' remark, that the sculptor should confine himself to simplicity of design, and rely entirely on the beauty of perfect form for strength. Perhaps in bust sculpture a greater union with pictorial effect is allowable; and, as we have lately lost one of the greatest geniuses in this department, I shall notice his excellencies in a few words; for though many dispute the superiority of the entire figures of Sir F. Chantrey, none who are capable of judging refuse joining in the universal approbation given to his busts. Beginning life as a

painter, he seems to have carried what knowledge he derived from painting portraits into the treatment of his heads in sculpture, as they possess more pictorial effect than any by his predecessors. Those of Roubiliac, which Chantrey praised highly, are deficient in many qualities which Chantrey's exhibit; and in drawing a parallel between them, with reference to painting, we should say that Roubiliac's, though giving the finish and delicacy of drawing observable in the pictures of Vandyck, convey a hardness such as we perceive in the ivory-like flesh of Vanderwerf; whilst the hair is defective from being too much in quantity, which was the fashion of the period, and also from its being too much disturbed and cut into, which destroys the effect of the features. In the works of Vandyck this is not the case; it not only serves as a frame-work to the countenance, but harmonizes and combines with the features, by enriching and extending their form, thereby giving dignity, and that beauty which arises from pictorial arrangement. The busts of Chantrey, on the contrary, seem to possess all the suppleness of flesh, and, while they seem blocked out with the massive breadth of the heads of Raeburn, have all the effect and character of the portraits of Reynolds. Indeed many of his busts look as if they were modelled from pictures by Sir Joshua, conveying the character of the sharp darks in the marking of the features, and the breadth and pictorial quality by which Reynolds elevated his subject. These deep cuttings, by which the expression and the local colour of the eyes and hair are conveyed, is that licence which a true artist takes to animate his marble, and was the practice of the best Greek and Roman sculptors. Plutarch remarks, that Lysippus not only gave the peculiar turn of the head in his statue of Alexander, but expressed the quickness of his eye. In comparing the busts of Chantrey with the Roman antique, they look less elevated in character, they appear to belong to familiar life; while the Roman have an historic air about them; the features are more generalized, and the hair adjusted with greater science as regards the look of the whole bust. Nor does this arise from the Greek and Roman heads belonging to a higher race of men: they are composed in a higher style of art, which enables them to be engrafted into the most sublime conceptions of Michael Angelo and Raffaelle. The texture, and artistical skill in what is termed handling,—the delicate and elaborate finish in some portions, with the breadth and soft character in others,—will, however, always secure a reputation to the busts of Chantrey, as long as sufficient taste remains in the country to admire the portraits of Reynolds. I must refer those readers who would wish to investigate this subject further, to an Essay on British Sculpture, in the 34th Volume of the Quarterly Review, from the pen of Mr. Allan Cunningham, whose practical knowledge gives additional weight to his opinions.

DISCOURSE XI.

[DELIVERED ON THE DISTRIBUTION OF THE PRIZES, DECEMBER 10TH, 1782.]

GENIUS.-CONSISTS PRINCIPALLY IN THE COMPREHENSION OF A WHOLE; IN TAKING GENERAL IDEAS ONLY.

GENTLEMEN,

THE highest ambition of every Artist is to be thought a man of Genius. As long as this flattering quality is joined to his name, he can bear with patience the imputation of carelessness, incorrectness, or defects of whatever kind.

So far, indeed, is the presence of genius from implying an absense of faults, that they are considered by many as its inseparable companions. Some go such lengths as to take indication from them, and not only excuse faults on account of genius, but presume genius from the existence of certain faults.

It is certainly true, that a work may justly claim the character of genius, though full of errors; and it is equally true, that it may be faultless, and yet not exhibit the least spark of genius.1 This naturally sug

1 Addison, speaking of the defects in Milton's Paradise Lost, says: "I must also observe with Longinus, that the productions of a great genius, with many lapses and inadvertencies, are infinitely preferable to the works of an inferior kind of author, which are scrupulously exact, and conformable to all the rules of correct writing." Addison's own tragedy of Cato is a striking example of this, when compared with those of Shakspeare. Johnson says, "We place it with the fairest and the noblest progeny which judgment propagates by conjunction with learning: but Othello is the vigorous and vivacious offspring of observation impregnated by genius. Other poets display cabinets of precious rarities minutely finished, wrought into shape and polished into brightness. Shakspeare opens a mine which contains gold and diamonds in inexhaustible

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