"Bartolomeo, in his figure of St. Mark, has convinced us how important and indispensable is the union of mental conception with truth of observation, in order to give a decided and appropriate character to an Evangelist of the Gospel. None of the pictures of this artist possess the excellence of his St. Mark except one, which is in the city of Lucca, the capital of the republic of that name; and, as that picture is but little known to travellers, and almost unknown to many artists who have visited Italy, a description of it may not be unacceptable.

"The picture is on pannel, and its dimensions somewhat about twenty feet in height by fourteen in width. The subject is the a.s.sumption of the Virgin Mary. The composition is divided into three groups; the Apostles and the sepulchre form the centre group, from the midst of which the Virgin ascends; her body-drapery is of a deep ruby colour, which is the only decided red in the picture, and her mantle blue, but in depth of tone approaching to black, and extended by angels to nearly each side of the picture. This mantle is relieved by a light, in tone resembling that of the break of day, seen over the summit of a dark mountain, which gives an awful grandeur to the effect of the picture on entering the chapel, in which it is placed over the altar. That awful light of the morning is contrasted with the golden effulgence above; in the midst of which, our Saviour is seen with extended arms, to receive and welcome his mother.

"From the sepulchre, and the Apostles in the centre, to the fore-ground, the third group of figures partly lies in shade, occasioned by the over-shadowing of the Virgin's deep-toned mantle extended by angels. On the other part of the group, on the side where the light enters, the figures are seen in the broad blaze of day; and amongst them is the portrait of the artist.

"When I first saw this picture, my sensations were in unison with its awful character; and I confess that I was touched with the same kind of sensibility as when I heard the inexpressibly harmonious blendings of vocal sounds in the solemn notes of _Non n.o.bis Domine_. I never felt more forcibly the dignity of music and the dignity of painting, than from these two compositions of art.

"When we consider the combination of excellence requisite to produce the sublime in painting; the union of propriety with dignity of character; the graceful grouping; the n.o.ble folding of drapery, and the deep sombrous tones of the clair-obscure, with appropriate colours harmoniously blending into one whole;--if there is a picture ent.i.tled to the appellation of _sublime_, from the union of all these excellences, It is that which I have described: considered in all its parts, it is, perhaps, superior to any work in painting, which has fallen under my observation.

"When these powerful essays in art by Da Vinci, Bartolomeo di St. Marco, and Michael Angelo became celebrated, Raphael, having attained his adult age, made his appearance at Florence; where the influence of the works of those three great artists pervaded all the avenues to excellence in art.

"The gentle sensibility of Raphael's mind was like the softened wax which makes more visible and distinct the form of the engraving with which it is touched. Blest by Nature with this endowment, he became like the heir to the treasured wealth of many families. Enriched by the acc.u.mulated experience which was then in Florence, united to the early tuition of delineating from nature under Pietro Perugino, and the subsequent discoveries of the Grecian relics, Raphael's mind became stored with all that was excellent; and he possessed a practised hand, to make his conceptions visible on his tablets. Possessing these powers, he was invited to Rome, and began his picture of _The Dispute on the Sacrament_. This picture he finished, together with _The School of Athens_, before he had attained his twenty-eighth year. At Rome he found himself amidst the splendour of a refined court, and in the focus of human endowment. He became sensible of the rare advantages of his situation; he had industry and ardour to combine and to embrace them all; and the effect is visible in his works. The theological arrangement of the disputants on the Sacrament, and the scholastic controversies at Athens, convince us of this truth. In the upper part of the Dispute on the Sacrament, something may be observed of that taste of Bartolomeo in drapery, and of the dryness and hardness of his first master Pietro Perugino; but in the parts which make the aggregate of that work, he has blended the result of his own observations. In his School of Athens, this is still more strikingly the case; and in his Heliodorus we see additional dignity and an enlargement of style.

"At this period of his life, such was the desire of his society by the great, and such the ambition of standing forward amongst his patrons by all who were eminent for rank and taste, that he was seduced into courtly habits, and relaxed from that studious industry, with which he had formerly laboured; and there are evident marks in many of his works in the Vatican, of a decline of excellence, and that he was suffering pleasure and indolence to rob him of his fame. Sensible of this decline in his compositions, the powers of his mind re-a.s.sumed their energies; and that re-animation stands marked in his unrivalled compositions of the Cartoons which are in this country, and in the picture of the Transfiguration.

"The transcendant excellence in composition, and in appropriate character to subject, in the cartoon of Paul preaching at Athens, has left us to desire or expect nothing farther to be done in telling this incident of history.

"In the composition of the death of Ananias, and in the single figure of Elymas the sorcerer struck blind, we have the same example of excellence.

We have indeed in many of the characters and groups in the cartoons, the various modes of reasoning, speaking, and feeling; but so blended with nature and truth, and so precise and determined in character, that criticism has nothing wherewith in that respect to ask for amendment.

"Had the life of this ill.u.s.trious painter, which closed on his birth-day in his thirty-seventh year, been prolonged to the period of that of Leonardo da Vinci, Michael Angelo, or t.i.tian, when in the s.p.a.ce of seventeen years at Rome he has given the world more unrivalled works of art, than has fallen to the lot of any other painter, what an additional excellence might we not have expected in his works for subsequent generations to admire.

"The next distinguished artist who comes under our consideration is t.i.tian. The grandeur which Michael Angelo gave to the human figure, t.i.tian has rivalled in colour, and both were dignified during their lives with the appellation of The Divine.

"I will pa.s.s over the many appropriate portraits which he painted of men, and the portraits of women, though not the most distinguished for beauty, in the character of Venus, to meet the fashion of the age in which he lived; and notice only those works of mental power, which have raised him to eminence in the cla.s.s of refined artists. On this point, you will find that his picture of St. Peter Martyr will justify the claim he has to that rank.

"St. Peter the Martyr was the head of a religious sect: when on his way from the confines of Germany to Milan with a companion, he was attacked by one in opposition to his religious principles while pa.s.sing through a wood, and murdered. This is the subject of the picture. The prostrate figure of the Saint, just fallen by a blow from the a.s.sa.s.sin, raises one of his hands towards heaven, with a countenance of confidence in eternal reward for the firmness of his faith; while the a.s.sa.s.sin grasps with his left hand the mantle of his victim, the better to enable him, by his uplifted sword in the other hand, to give the fatal blow to the fallen saint. The companion is flying off in frantic dismay, and has received a wound in the head from the a.s.sa.s.sin.

"The ferocious and determined action of the murderer bestriding the body of the fallen saint, completes a group of figures which have not a rival in art. The majestic trees, as well as the sable and rugged furze, form an awful back-ground to this tragical scene, every way appropriate to the subject. The heavenly messengers seen in the glory above, bearing the palm branches as the emblem of reward for martyrdom, form the second light; the first being the sky and cloud, which gives relief to the black drapery of the wounded companion; while the rays of light from the emanation above, sparkling on the dark branches of the trees as so many diamonds, tie together by their light all the others from the top to the bottom of the picture. The terror which the act of the murderer has spread, is denoted by the speed of the horseman pa.s.sing into the gloomy recesses of a distant part of the forest.

"This picture, taken in the aggregate, is the first work in art in which the human figure and landscape are combined as an historical landscape, and where all the objects are the full size of nature.

"When I saw this picture at Venice in 1761, it was then in the same state of purity as when the Bologna artists saw and studied it; and it is recorded that Caracci declared this picture to be without fault. But we have to lament the fatal effects which the G.o.ddess Bellona has ever occasioned to the fine arts when she mounts her iron chariot of destruction. When this picture fell under her rapacious power, on board a French vessel pa.s.sing down the Adriatic sea from Venice, one of our cruisers chased the vessel into the port of Ancona, and a cannon-shot pierced the pannel on which the picture was painted, and shivered a portion of it into pieces.

"On its arrival at Paris, the committee of the fine arts found it necessary to remove the painting from the pannel, and place it on canva.s.s; but the picture has lost the princ.i.p.al light.

"But to sum up t.i.tian's powers of conception, no one has equalled him in the propriety and fitness of colour. His pictures of St. Peter Martyr; the David and Goliah; and the Last Supper, which is in the Escurial, stand in the very highest rank in art. On the latter of these pictures being finished, t.i.tian in his letter to the King, announcing the circ.u.mstance, says that it had been the labour of seven years. But by his original sketch in oil colours, which I have the good fortune to possess, and by which we may form an estimate, although the general effect and composition are unrivalled, the characters of the heads of the apostles are not equal to those of Leonardo da Vinci on the same subject.

"Antonio Allegri da Correggio is the sixth source, whose emanating powers have illuminated the fine arts in the modern world. A superst.i.tious mind, on seeing his works, would suppose that he had received his tuition in painting from the angels; as his figures seem to belong to another race of being than man, and to have something too celestial for the forms of earth to have presented to his view. Such have been the sayings of many on seeing his works at Parma, but, to my conception, he painted from the nature with which he was surrounded. His pictures of the Note, St.

Gierolimo, and the St. George, are evident proofs of the observation. In the first of these pictures his mental conception shines supreme. It is the idea of illuminating the child in the subject of our Saviour's nativity. This splendid thought of giving light to the infant Christ, whose divine mission was to illuminate the human mind from Pagan darkness, no painter has since been so bold as to omit in any composition on the same subject. The two latter pictures have all the beauties seen in the paintings of this master, but they are deficient in appropriate character.

"The inspiring power of Correggio's works illuminated the genius of Parmegiano, the energetic movements of whose graceful figures have never been equalled, nor are they deficient in the moral influence of the art.

His Moses breaking the tables in a church at Parma, and his picture of the vision of St. Gierolimo, now in England, are filled with the impress of his intellectual powers, and stand pre-eminent over all his works.

"I have thus taken a survey of the works of art, which stand supreme among the productions of Grecian and Italian genius, and which are the sources from which the subsequent schools have derived most of the principles of their celebrity.

"The papal vortex drew into it nearly all the various powers of human refinement, and the inspiring influence of the first school in art having centered in Rome gave it superiority, till the Constable Bourbon, by sacking that city, obliged the fine arts to fly from their place, like doves from the vultures: they never re-appeared at Rome but with secondary power.

"About a century subsequent to their flight from Rome they were re-animated, and formed the second school of art in Italy at the city of Bologna under the Carracci, at the head of which was Ludovico. He and his two relatives, Hanibal and Augustin Carracci, derived their principles from the Venetian School, from t.i.tian, Paul Veronese, and Tintoret, and from the Lombard School of Correggio and Parmegiano. But the good sense of Ludovico raised by them and himself a school of their own, which excelled in the power of delineating the human figure, but which power gave to that school more academical taste than mental character.

"Their great work was that in the convent of St. Michael in Boresco, near Bologna; but this work has perished by damp, and the only remains on record of what it was, are in the coa.r.s.e prints which were done from copies executed when it was in good condition. But grand as it must have been according to the evidence of these prints, it was but an academical composition.

"The picture by Ludovico, however, of our Saviour's Transfiguration on the Mount, consisting of six figures double the size of life, has embraced nearly all the points of art, and has placed the artist high in the first cla.s.s of painters.

"The masters of the Bolognese school going to Rome and other parts of Italy, their successors at Bologna contented themselves by retailing the several manners of the three Carracci--Guido, Domenichino and Guercino.

This system of retailing continued to descend from master to pupil, until the school of Bologna sunk into irrecoverable imbecility.

"The most esteemed work in painting by Augustine Carracci is the Communion of St. Jerom. It possesses grandeur of style, is bold in execution, and the faces are not deficient in the appropriate expression of sensibility towards the object before them. It was on the composition of this picture, that Domenichino formed his on the same subject, so much celebrated as to be considered next in merit to Raphael's Transfiguration. But fine as it is admitted to be, we must say, as a borrowed idea, it lessens the merit of the artist's originality of mind.

"The finest picture by Guido is in a church at Genoa, where he has brought to a focus all the force of his powers in grace and beauty, with an expression and execution of pencil rarely to be met with in art. The subject is the a.s.sumption of the Virgin Mary. The angels, who surround the Virgin, have something in their faces so celestial, that they seem as if they had really descended from Heaven, and sat to the artist while he painted them. The Virgin herself seems to have had the same complacency.

The characters of the Apostles' heads are so exquisitely drawn and painted, as to be without compet.i.tion in the works of any other painter.

"The most esteemed picture by Guercino is is that of Santa Petranella, which he painted for St. Peter's Church, at Rome.

"But, Gentlemen, if you aspire to excellence in your profession, you must not rest your future studies on the excellence of any individual, however exalted his name or genius; but, like the industrious bee, survey the whole face of nature, and sip the sweets from every flower. When thus enriched, lay up your acquisitions for future use; and with that enrichment from Nature's inexhaustible source, examine the great works of art to animate your feelings, and to excite your emulation. When you are thus mentally enriched, and your hand practised to obey the powers of your will, you will then find your pencils, or your chisels, as magic wands, calling into view creations of your own, to adorn your name and your country.

"I cannot, however, close this Discourse, without acknowledging a debt due from this Academy, as well as that which is due to the Academy itself.

Soon after His present Majesty had ascended the throne, his benign regard for the prosperity of the fine arts in these realms was manifested by his gracious commands to establish this favoured Inst.i.tution.

"The heart of every artist, and of the friend of art, glowed with mutual congratulation to see a British King, for the first time, at the head of the fine arts. His Majesty nominated forty members guardians to his infant academy; and that they have been faithful to the trust which he graciously reposed in them, the several apartments under this roof sufficiently testify. The professors are highly endowed with accomplishments and scientific knowledge in the several branches to which they are respectively appointed; and the funds able to render relief to the indigent and decayed artists, their widows and children.

"Who can reflect for a moment on the rare advantages here held out for the instruction of youthful genius, and the aid given to the decayed, their widows and helpless offspring, without feeling the grateful emotions of the heart rise towards a patriot King, for giving to the arts this home within the walls of a stately mansion, and towards the members of this Academy, who, as his faithful guardians, have so ably fulfilled the purposes for which the Inst.i.tution was formed.

"United to what the Academicians have done, and are doing, another honourable establishment, sanctioned by His Majesty for promoting the fine arts, has been created and composed of n.o.blemen and gentlemen whose known zeal for the success of refined art is so conspicuous and honourable to themselves.

"Such have been the efforts to give splendour to the fine arts in this country, and such are the results which have attended these exertions; that knowing, as we do, the movements of the arts on the Continent, I may confidently say, that our annual exhibitions, both as to number and taste, engrafted on nature and the fruit of mental conception, are such that all the combined efforts in art on the continent of Europe in the same time have not been able to equal. To such attainments, were those in power but to bestow the crumbs from the national table to cherish the fine arts, we might pledge ourselves, that the genius of Britain would, in a few years, dispute the prize with the proudest periods of Grecian or Italian art. But, Gentlemen, let us not despair; we have heard from this place, the promise of patronage from the Prince Regent, the propitious light of a morning that will open into perfect day, invigorating the growth of all around--the a.s.surance of a new era to the elevation of the fine arts, in the United Kingdom."

Chap. XIII.

Mr. West's Visit to Paris.--His distinguished Reception by the Members of the French Government.--Anecdote of Mr. Fox.--Origin of the British Inst.i.tution.--Anecdotes of Mr. Fox and Mr.

Percival.--Anecdote of the King.--History of the Picture of Christ Healing the Sick.--Extraordinary Success attending the Exhibition of the Copy in America.

During the Peace of Amiens, Mr. West, like every other person who entertained any feeling of admiration for the fine arts, was desirous of seeing that magnificent a.s.semblage of paintings and sculptures, which const.i.tuted the glory and the shame of Buonaparte's administration. He accordingly furnished himself with letters from Lord Hawkesbury, then Secretary of State, to Mr. Merry, the British representative at the consular court; and also with introductions from Monsieur Otto, the French minister in London, to the most distinguished members of his government.

On delivering Lord Hawkesbury's letters to Mr. Merry, that gentleman informed him that one of the French ministers had, the preceding evening, mentioned that Monsieur Otto had written in such terms respecting him, that he and his colleagues were resolved to pay him every mark of the most distinguished attention. Mr. Merry, therefore, advised Mr. West to call on the several ministers himself with the letters, and leave them with his card. As the object for which the Artist had procured these introductions was only to obtain, with more facility, access to the different galleries, he was rather embarra.s.sed by this information; and would have declined delivering the letters altogether; but Mr. Merry said, that, as his arrival in Paris was already known to the government, he could not with any propriety avoid paying his respects to the ministers.

After delivering his letters and card accordingly, the hotel where he resided was, in the course of the week, visited by all the most distinguished of the French statesmen; and he had the honour of being invited to dine with them successively. At these parties, the conversation turned very much on the importance of the arts to all nations aspiring to fame and eminence; and he very soon perceived, that the vast collection of trophies which adorned the Louvre, had not been formed so much for ostentatious exhibition, as with a view to furnish models of study for artists; const.i.tuting, in fact, but the elementary part of a grand system of national decoration designed by Buonaparte, and by which he expected to leave such memorials to posterity as would convince the world that his magnificence was worthy of his military achievements.

It happened at this particular period, that the galleries of the Louvre were closed to the public for some time, but a deputation from the Central Administration of the Arts, under whose care the collections were particularly placed, waited on Mr. West, and informed him, that orders were given to admit him and his friends at all times. Denon was at the head of this deputation; and in the course of the conversation which then took place, that accomplished enthusiast explained to Mr. West more circ.u.mstantially the extensive views entertained by the French government with respect to the arts, mentioning several of the superb schemes which were formed by the First Consul for the decoration of the capital.

This information made a very deep impression on the mind of Mr. West, and he felt extremely sorrowful when he reflected, that hitherto the British government had done nothing decidedly with a view to promote the cultivation of those arts, which may justly be said to const.i.tute the olive wreath on the brows of every great nation. Mr. Fox and Sir Francis Baring, who were at this same time in Paris, happened soon after the departure of Monsieur Denon to call, and they went with Mr. West to the Louvre, where, as they were walking in the gallery, he explained to them what he had heard. An interesting discussion took place in consequence; and Mr. West endeavoured to explain in what manner he considered the cultivation of the fine arts of the utmost importance even in a commercial point of view to England.

Mr. Fox paid great attention to what he said, and observed, in a tone of regret, "I have been rocked in the cradle of politics from my infancy, and never before was so much struck with the advantage, even in a political bearing, of the fine arts to the prosperity, as well as the renown, of a kingdom; and I do a.s.sure you, Mr. West, that if ever I have it in my power to influence our government to promote the arts, the conversation that we have had to-day shall not be forgotten." Sir Francis Baring also concurred in opinion, that it was really become an imperious duty, on the part of the British nation, to do something for a cla.s.s of art that, undoubtedly, tended to improve the beauty, and multiply the variety of manufactures, independent of all monumental considerations.