STATUARIES. ["Then marble softened into life, grew warm, JOHN MICHAEL RYSBRACH, Born 1693, Died 1770, the best sculptor that has appeared in these islands since Le Soeur, was born at Antwerp.* His father was a landscape painter, and had been in England, but quitted it with Largilliere and went to Paris, where he married, and returning to Brussels and Antwerp, died at the latter in 1726, at the age of fourscore Michael his son arrived here in 1720, then about the age of twentysix, and began by modelling small figures in clay, to show his skill. The Earl of Nottingham sat to him for his bust, in which the artist succeeded so well, that he began to be employed on large works, particularly monuments. For some time he was engaged by Gibbs, who was sensible of the young man's merit, but turned it to his own account, contracting for the figures with the persons who bespoke the tombs, and gaining the chief benefit from the execution. Thus Gibbs received 1007. apiece from Lord Oxford for the statues on Prior's monument, yet paid Rysbrach but 351. each. The to copy it; which he did to the surprise and satisfaction of those who saw it. He was then sent to learn his art practically, and became greatly patronised, as a fashionable artist. Edwards, p. 18.] * Peter Rysbrach. statuary, though no vain man, felt his own merit, and shook off his dependence on the architect, as he became more known and more admired. Business crouded upon him, and for many years all great works were committed to him; and his deep knowledge of his art and singular industry gave general satisfaction. His models were thoroughly studied, and ably executed; and as a sculptor capable of furnishing statues was now found, our taste in monuments improved, which till Rysbrach's time had depended more on masonry and marbles than statuary. Gothic tombs owed their chief grandeur to rich canopies, fretwork, and abundance of small niches and trifling figures. Bishops in cumbent attitudes and crosslegged templars admitted no grace nor required any. In the reigns of Queen Elizabeth and King James I. a single figure reclining at length on the elbow in robes or serjeant's gown, was commonly overwhelmed and surrounded by diminutive pillars and obelisks of various marbles; and if particularly sumptuous, of alabaster gilt. Gibbs, in the Duke of Newcastle's monument in the abbey, seems to have had an eye to that kind of tasteless expence. From the reign of Charles I. altartombs or mural tablets with cherubims and flaming urns, generally satisfied the piety of families. Bird indeed Lestowed busts and basreliefs on those he decorated, but Sir Cloudesly Shovel's, and other monuments by him, made men of taste dread such honours. Now and then had appeared a ray of simplicity, as in Sir Francis Vere's and Captain Hollis's tombs. The abilities of Rysbrach taught the age to depend on statuary for its best ornaments, and though he was too fond of pyramids for back-grounds, his figures are well disposed, simple and great.* We seem since to have advanced into scenery. Mr. Nightingale's tomb, though finely thought and well executed, is more theatric than sepulchral. The crouds and clus * [Mr. Rogers, in his notes affixed to his Collection of Prints, in imitation of drawings, (v. ii. p. 227,) informs us, from personal knowledge of this sculptor, that "he was born at Antwerp, June 24, 1693, and that he there learned not only the rudiments but the perfection of his art, by studying under Michael Vander Vorst, a famous sculptor, from 1706 to 1712; and afterwards by improving himself by his own observation and application, and by the advice of his father, he became one of the instances that studying in Rome or Italy, is not necessary for excelling in the polite arts." In this judgement however, few will acquiesce. He amused himself with making highly finished drawings in an admirable taste; and continued to do so 'till the last days of his life. His most frequent practice of his art was in forming bas-reliefs from classical stories, in terra cotta, some of which, still preserved, are decisive proofs of his skill, and acquaintance with the Antique. He was most assiduous, and was never deterred from labour, so that he personally worked more than many great sculptors upon the monuments, which bear his name.] ↑ [Erected by the will of Washington Gascoigne Nightingale, to the memory of Joseph Gascoigne Nightingale, Esq. of Mamhead, Devon, and Lady Elizabeth his wife, daughter and coheir of Washington Shirley, Earl Ferrers, who died in 1734, aged 27. Neale's Hist. of Westminster Abbey.] |