cent ad valorem, was added, at the instances of Mr. Vertue. Nevertheless, thus loaded, they passed regularly through the Custom House; the Knaptons having no choice, after their undertaking was in a course of publication. To return to Blakey, who was, we believe, an Irishman, we may add, that his daughter is still living in London. Another instance of the low state of the arts, we shall give in Mr. E.'s own words, extracted from the article BROOKING. The following anecdote is given upon the authority of the late Mr. D. Serres, to whom he was well known. such prices, as he chose to pay them, and he sold their performances at the highest rate he could obtain. This was the natural consequence, in fact, of the system then prevailing, of decorating apartments with copies of pictures. It signified nothing to the purchaser, who were the authors of the multitude of copies presented for his choice: he bought for size and subject; not for merit, or for the renown of a master. It is true, that cielings, and other costly decorations of the like kind, were fashionable, meanwhile, in the houses of Many of the artists of that time, worked the great; but the execution of these was for the shops, and Brooking, like the rest, chiefly confided to foreign artists. The painted much for a person who lived in Castle-time such compositions occupied, and the street, Leicester-square, not far from the Mews, who coloured prints, and dealt in pictures, which he exposed at his shop win dow. A gentleman, who sometimes passed the shop, being struck with the merits of some sea pieces, which were by the hand of this artist, desired to know his name; but his inquiries were not answered agreeably to his wishes; he was only told, that if he pleased they could procure any that he might require from the same painter. Brooking was accustomed to write his Dame upon his pictures, which mark was as constantly obliterated by the shopkeeper, before he placed them in his window; it how ever happened that the artist carried home a piece, on which his name was inscribed, while the master was not at home; and the wife, who received it, placed it in the window, without effacing the signature. Luck ily the gentleman passed by before this picture was removed, and discovered the name of the painter whose works he so justly admired. He immediately advertised for the artist to meet him, at a certain wholesale linen-draper's in the city. To this invitation Brooking at first paid no regard; but seeing it repeated, with assurances of benefit to the person to whom it was addressed, he prudently attended, and had an interview with the gentleman, who from that time became his friend and patron unfortunately the artist did not live long enough to gratify the wishes of his benefactor, or to receive any great benefit from his patronage. This is but one example of a thousand, of that thraldom in which artists were then held. There was so little intercourse between professors and patrons of art, that painters, whatever might be their merit, were regarded as being the property of the vendor of their works: they received expences they incurred, prevented them from being useful as a source of emulative employment, or as a school of art to British genius. Mr. E. pays a proper compliment to the memory of George Lambert, the landscape painter: he might have said more on the merit of his works. We notice him, however, principally, be cause, on occasion of the late destruction by fire of the theatre in Covent Garden, the loss of the Beaf Steak Club, was particularly mentioned, and some parts of its history were given to the public, but not its origin, which our author thus relates: Mr. Lambert was for many years principal scene painter to the Theatre at Covent-Gar den. Being a person of great respectability in character and profession, he was often vi sited, while at work in the Theatre, by persons of the first consideration, both in rank and talents. As it frequently happened that he was too much hurried to leave his engage ments for his regular dinner, he contented himself with a beef steak broiled upon the fire in the painting-room. In this hasty meal he was sometimes joined by his visitors, who were pleased to participate in the humble repast of the artist. The savour of the dish, and the conviviality of the accidental meeting, inspired the party with a resolution to estabish a club, which was accordingly done, under the title of the Beef Steak Club; and the party assembled in the painting-room. The members were after wards accommodated with a room in the for many years; but after the theatre was last play-house, where the meetings were held rebuilt, the place of assembly was changed to the Shakespeae Tavern, where the Club is still held, and the portrait of Mr. Largbert, painted by Hudson, makes part of the deco establishment. He might have added, rations of the room in which the party meet." Mr. Lambert was the first President of that Mr. Cotes was the artist, who by the Royal Incorporated Society of Artists occupying all the best places in the exhiof Great Britain. He survived the sig-bition room, gave never-pardoned offence nature of the charter only four days: among his brethren, and contributed to but his name appears in the minute books, the confusions that ensued among the as President, long before. society. The rudiments of elegant taste appear to be strongly implanted in the female mind: they there find a favourable soil; and shoot with the greatest vigour. We might therefore, wonder that so few female artists rise to eminence; but when we reflect, that domestic engagements are the honour of the sex, and the duties of wife and mother leave little interval for that continued attention to a profession which is indispensable to the acquisition of skill, our wonder ceases. Some few single ladies have distinguished themselves by their merit as artists: Mr. E. mentions but one married lady, Mrs. Grace: he gives but a meagre account of her. We shall add a few particulars. Under the article BAKER we have the following sketch of the versatility of fashion. The influence of fashion, over the conreniences and comforts of life, has in no article been more arbitrary and capricious than in the decorations of the coaches and the days of Queen Elizabeth, those vehicles chariots of our nobility and gentry. Since have been improved to a degree of comfort and elegance, which the greatest admirers of antiquity will not wish to see reduced to their primitive simplicity; but while the improvements have been regular and progressive, their ornamental decorations have been various and changeable. At the commencement of the last century, the pannels of coaches were often but little suited to the character or propainted with historical subjects, which were fession of the owners. To this circumstance Mrs. Grace's maiden name was Hodg- the poet Gay alludes in his little poem of kis: she never enjoyed the advantages Trivia, or the Art of Walking the Streets. of regular tuition; but obtained her After this fashion ceased, the pannels were knowledge in the art of painting, prin- painted simply with the arms and supporters cipally by copying the pictures of good displayed upon a large mantle, but in a few masters, that were in Somerset House, years, the mantle was laid aside, aud a more then one of the royal palaces, where she fanciful shew of flowers, intermixed with had apartments. Her original pictures, attendants of the family honours, and freornaments, and sometimes genii, were the were wholly painted from models; and quently a wreath or bunch of various flowers, therefore partake of that want of free- unincumbered with any other representation dom which usually marks too diffident than the arms in the centre. It was in this imitation. Her chief merit was in por- last mode of decoration that Baker was contrait; in which line she had considerable sidered as pre-eminent, particularly by those employment. Mr. E. observes, that she who laboured in the same vocation; and it ceased to exhibit in 1769. This was in must be allowed, that his productions had consequence, not of her own decease, considerable merit, although they were too but of that of her husband. After his much marked by that sharpness of touch, death she retired with her family to Ho-which is peculiar to all those who have been bred coach-painters. merton; where she resided many years, in the enjoyment of a competency, and attained to old age. We quote Mrs. G. as an instance of what may be effected by diligence; and recommend the example to, ladies whose talents mark them as designed for eminence in the arts. Mr. E. signalizes Francis Cotes, R. A. From the late failure of this house, the We believe, nevertheless, that Baker was so sensible of this coach painter defect, that in some of his pictures he has. erred on the contrary extreme and to avoid too great neatness in colouring, he even used dirty colours: declaring, at the same time, he did not paint for the million." Nevertheless, in a painter of flowers, neatness, precision, and even beauty of tints, are not without merit. Under the article OLIVIER, a French painter of history, who exhibited at the The tricking gamester insolently rides, With loves and graces by his chariot sides. Book 1st, verse 58. lection of the Rev. Dr. Ascough, and is dated 1751. After having practiced some years in London, he went to Italy, and was at Rome at the same time with several English artists," who afterwards became the ornaments of their country. Royal Academy in 1772, M. E. ought to Our author accuses Mr. KIRBY of vanity in accepting the President's chair after Mr. Hayman had been removed by the refractory artists: we know, that Mr. K. accepted that office in the most peaceful spirit. Mr. E. should have hinted that one of the designs in Mr. Kirby's Perspective, has usually been attributed to his Majesty, then Prince of Wales. In Italy he continued the study of por painting, though not with the same success that attended Sir Joshua Reynolds, for he was then unacquainted with the pe culiar bias of his talents, and might probably have remained long ignorant of his latent powers, but for the following accident. While Wilson was at Venice, he painted a small landscape, which being seen by Zuecarelli, that artist was so much struck with the merit of the piece, that he strongly urged Wilson to pursue that branch of the art, which advice Wilson followed, and became one of the first landscape painters in Europe. His studies in landscape must have been atwith rapid success, for he had some pupils in that line of art while at Rome, and his works were so much esteemed, that Mengs au-painted his portrait, for which Wilson in return painted a landscape. As a favourable specimen of our thor's manner, we select his account of RICHARD WILSON, R. A. This gentleman, it is believed, was born into Montgomeryshire, where his father, a clergyman, possessed a small benefice; but was afterwards collated to the living of Mould in Flintshire, while the son was very young. His connections were highly respectable, being maternally related to the late lord chancellor Camden, who was pleased to acknowledge him as his cousin. At the time of life when it was necessary to fix on some profession, young Wilson was sent to London, and placed under the tuition of T. Wright, a portrait-painter of very slender abilities. Wilson, however, acquired so much knowledge from his master, as to become a painter of portraits equal to most of his cotemporaries. He must also have acquired a degree of rank in his profession, for about the year 1749, he painted a large picture of his present majesty, when prince of Wales, with his brother, the late duke of York, which was done for Dr. Hayter, bishop of Norwich, at that time tutor to the princes. He also painted another portrait of the same august personage, from which there is a mezzotinto print by Faber. The original picture is announced as in the col Thomas Wright, an artist, of whom Mr. Walpole takes not the least notice, nor has the author ever met with any mention of him, except what can be found in the inscriptions under three prints, by Gerard Vander Gutch, engraved after cartoons of Guido," in the Collection of T.Wright, Painter, Corent-garden," It is not known at what time he returned England, but he was in London in 1758, and resided over the north arcade of the piazza, Covent-garden, at which time he had gained great celebrity as a landscape painter. To the first exhibition of 1760, he sent his picture of Niobe, which confirmed his reputation. It was afterwards bought by William duke of Cumberland; and is now in the possession of his royal highness the duke of other pictures) a View of Rome, from the Gloucester. In 1765, he exhibited (with Villa Madama, a capital performance, which was purchased by the late marquis of Tavis tock. Though he had acquired great fame, yet he did not find that constant employment, which his abilities deserved. This neglect might probably result from his own conduct, for it must be confessed, that Mr. Wilson was not very prudentially attentive to his interest; and though a man of strong sense, and superior education to most of the artists of his time, he certainly did not possess that suavity of manners, which distinguished many of his cotemporaries. On this account his connections and employment insensibly diminished, and left him, in the latter part of his life, in comfortless infirmity. When the Royal Academy was instituted, he was chosen one of the founders, and, after the death of Mr. Hayman, made the * This portrait, which is one of Mengs' best productions, was bought of Wilson, by the late Sir Watkin Williams Wynne, and is now in the collection of the present baronet. librarian, which situation he retained, until his decayed health compelled him to retire to his brother's in Wales, where he died in May 1782. Of this gentleman's talents as an artist, it is not easy to speak with precision, for before we can form a just estimate of his abilities he must be considered in two capacities; first as a portrait painter, and secondly as a painter of landscape. As a portrait painter, (which was his first pursuit) his works are not sufficiently known, nor are they marked by any traits which distinguish them from the general manner, which then prevailed among his cotemporaries in that line of art. No decided character can therefore be affixed to them. It may, however, be asserted, that he drew a head equal to any of the portait painters of his time. A specimen of which may be seen by a drawing, now in the possession of J. Richards, Esq. which is the portrait of Admiral Smith, and which was drawn before Wilson went abroad. It is executed in black and white chalk, as large as life, upon brown French paper, and is treated in a bold masterly manner; but this is not a work which can authorize the critic to consider him as superior to the other portrait painters of his day. But while we are unable to define his merits as a portrait painter, from the want of such specimens as would direct our judgment, we are by no means deficient in proofs of his powers in landscape painting, in which line his talents suddenly broke forth, and shone out with superior lustre. Though there is reason to suspect, that Wilson had painted some landscapes before he went abroad, yet it is certain, that he did Rot commence a regular course in that study, until after he had been some time in Italy when he began, however, he did not waste his time, nor subjugate his powers to the unimproving drudgery of copying the pictures of the old masters, but contented himself with making his observations upon their works, and afterwards confirming those observations by his studies from nature. In consequence of this prudent method of cultivating his talents, he wisely avoided any imitation of the pictures of the Italian masters, who preceded him, and at once struck out a manner, both of execution and design, which was classical, grand, and original. Of the originality of his style, we are convinced, by inspecting his works, for in mest One of the founders, and secretary to the Royal Academy. There is a print engraved by J. S. Miller, from a picture painted by R. Wilson, a view of Dover, without date, but evidently executed before he went abroad. of them he has represented the general cha1acter of Italy with more decided precision, than can be found in the works of his predecessors. In his pictures, the waving line of mountains, which bound the distance in every point of view; the dreary and inhospitable plains, rendered solemnly interesting, by the mouldering fragments of temples, tombs, and aqueducts, are all indicated in a masterly manner, exhibiting that local character, which, though it be familiar to the inhabitants, cannot but be considered as peculiarly grand and classical. Mr. E. proceeds to vindicate Wilson from some severe criticisms of Sir Joshua Reynolds, on his first picture of Niobe (as is presumed) -- but observes, that, his English views were too much Italianized; and he frequently repeated his pictures with variations. This prac tice, while it improves facility, renders a decisive opinion on a subject treated by this artist, very hazardous; to be correct, the very picture should be present to justify the critic. Wilson was so fond of shewn instances of which, it was said, a slovenly foreground, that, we have been he gave that air to his pictures, after having laboured them with even solicitous attention. Sir Joshua Reynolds, we know, did the same, in parts of his pictures. Sundry other articles are composed with no less diligence: we might quote those of Gainsborough, Sir Joshua Reynolds, Barry, and others: but, having extended this article somewhat too far, already, we have room for very few additions. We must, nevertheless, transcribe the sentence of the public on such works of Sir Joshua as were brought to the hammer, at the sale of the Shakespeare Gallery. The first column denotes the prices paid to Sir Joshua by Mr. Boydell: the second, the prices for which they sold by auction. Macbeth and the Witches 100 guineas £. s. d. 378 0 0 585 5 0 215 5 0 Thus it appears, that what the painter intended for a grand composition, sold for one third of its cost; and what was merely a jeu d'esprit, sold for double its original price! The different dimensions of the pictures might contribute to this; as large pictures require large rooms. Mr. E. is mistaken, when he says, “Sir Joshua never applied any mark or signature to his portraits, except to the wholelength of Mrs. Siddons in the character of the tragic muse, upon which he wrote his name on the hem of her garment.” We have noticed it on the fringes of the draperies, in other portraits. Under the article ROMNEY we meet with the account of the preference given to him before Mr. Mortimer, by the Society for Improvement of Arts, &c.: which vote was set aside, and the premium ultimately adjudged to Mortimer. Mortimer had the generosity to say, in our hearing, that " Romney deserved the prize;-not because his picture was the best; but because it was painted under such circumstances, (in a narrow, poking garret) that the painter could never see the true effect of the whole of his composition it was therefore a wonderful performance." Mr. Edwards was always reckoned attentive to little things (for which Mortimer did not spare him in his facetia); nevertheless, he has committed several inaccuracies in spelling the names of persons and places, with other minutia; as Pieré, p. 40, for Pierre; Benazee, p. 225, for Benazech; Port Culis for Port-cullis, Vander Gutch for Vander Gutcht, &c. These Memoirs, it will be recollected, relate to professors in one branch of art only, the Painters: we hope that Mr. E. has preserved what facts came to his knowledge concerning artists in other branches. Sculpture and engraving have been almost created during the interval of which his work is the history; and the patronage, bestowed or withheld, as fashion dictated, on various employments, as chasing, &c. correctly narrated, would furnish a very amusing and instructive performance. We repeat, that we have no volume of the same description as this, which we can place in competition with it. There are a few, and very few, old artists remaining who could improve it, by notes and additions; (Mr. Paul Sandby could, were he so inclined,) but we must accept it as it is and have only to regret that the author did not live to complete his design, but that we are unhappily called to report on Mr. Edwards's labours as a posthumous publication. The Substance of a Speech which ought to have been spoken in a certain Assembly, on the Motion of the Rt. Hon. Henry Grattan, May 28, 1808, on the Roman Catholic Petition. With Notes, &c. 8vo. pp. 95. Price 3s. J. Stockdale, London, 1809. We must review this pamphlet doubtfully, because we are not sure that the speech it contains ought to have been spoken: nor that restrictions on conscience ought to form a part of the political code of a state; nor that it is bad policy to endeavour to improve the education of all ranks, especially of public persons who are to teach others. We doubt, whether the money paid for instruction may not be as properly spent at home as sent abroad, and whether the mind, that never has been reconciled to the grosser fopperies of continental catholicism, is not likely, in time, to be weaned from the disposition to vindicate or adopt them. We doubt whether the Irish catholics are such fools as to prefer the jurisdiction of Buo naparte to that of George III, and whether his conduct towards the head of the Romish Church be calculated to procure him partisans among an enlightened people. We doubt, whether a better race of priests would not ensure by degrees a better race of people; and whether a milder regimen be not more likely to have some influence in producing a better race of priests. We doubt, whether the lay catholics of Ireland have so great faith and so little understanding, as to wish to see their spiritual guides in possession of temporal power; and lastly, we doubt whether there will be another Pope of Rome, properly speaking; and, of course, whether the well-instructed Irish will not have occasion to look out for an effective head of the church, notwithstanding any communion they may affect to hold with a nominal bishop, of whom they will hear little and know less. We may be allowed, also on the other side of the question to doubt, whether it would not have been more politic in the Catholics of Ireland, as a party, to have defrayed the whole expence of the education of their priests, from among themselves, as the Dissenters and Methodists, &c. in England and to study the good of their own Irish Church individually. |