fair, added to his reputation. In the monuments of Colonel Cadogan and Generals Bowes and Gillespie, he proved, that though simple nature may degenerate into vulgarity, when the chisel is guided by feeble hands, yet that the power of genius is capable of elevating it to genuine dignity and

grace.

In 1814, Chantry visited Paris to admire the treasures of art which then adorned the Louvre. He made a second visit to the French capital, after the northern invaders had stripped our museums. He returned to England by the way of Normandy, where he made some valuable sketches of various monuments of gothic architecture. Nodier and Taylor had not yet executed their national work, which is embellished with designs of those noble ruins of the middle ages, so highly admired by the English.

On his return to England, Chantry executed his famous groupe for Lichfield Cathedral, his colossal figure of Satan, which is worthy of Milton, the statues of Lady St. Vincent and Lady Louisa Russell; the remarkable head of John Rennie, and two busts of Sir J. Banks and Benjamin West. Of the two last mentioned busts, one is for the Antiquarian Society and the other for the Royal Academy, of which Chantry was admitted a mem ber in 1818.

Some are of opinion that Chantry's master-piece is the statue of Dr. Anderson, a venerable old

* The statue of Lady Louisa Russell was executed for the Duke of Bedford, and is now at Woburn Abbey, with Canova's three Graces,

man; but others award the palm of superiority to the groupe of the sleeping sisters. I abstain from mentioning all his productions, as a cold enumeration must be destitute of interest.

After his visit to France, Chantry proceeded to Italy. You will perhaps like to know his opinion of Canova, with whom he contracted a friendship which reflects honour on both. The following extract from one of his letters, may serve to counterbalance the criticism of Sir William.

"Above all modern art in Rome, Canova's works are the chief attractions. His latter productions are of a far more natural and exalted character than his earlier works; and his fame is wronged by his masterly statues, which are now common in England. He is excelling in simplicity and grace every day. An Endymion for the Duke of Devonshire, a Magdalen for Lord Liverpool, and a Nymph, are his latest works and his best. There is also a noble equestrian statue of the King of Naples: the revolution of its head have kept pace with those of the kingdom. A poet in Rome has published a book of sonnets on Canova's works; each production has its particular sonnet.”

The wonderful productions of Michael-Angelo produced a profound impression on Chantry. He formed a just conception of the power of that extraordinary genius, whose defects he thought seemed to be an attempt to express too much, and a wish to attain impossible perfection.

During the last few years Chantry has produced works of extraordinary merit, among others the statue of James Watt, &c.

LETTER XIV.

TO MR. TAYLOR.

I MUST not omit mentioning to you the powerful impression produced on me by Flaxman's groupe of Michael subduing the rebellious archangel. Of all the English sculptors, Flaxman has best fulfilled the true vocation of the artist, by labouring for the glory of art, rather than for the celebrity of individuals. When very young he produced some excellent bas-reliefs in Italy, and he early distinguished himself for correctness of design, a point which had been much neglected by his predeces

sors.

Flaxman's figures possess more ideal beauty than those of Bacon, though the females of the latter are truly angelic. Bacon has acquired great reputation by his mausoleum of Sterne's Eliza and Whitbread's monument: the latter, however, is evidently copied from the monument of Richelieu, by Girardon. With regard to Bacon's works it may be observed, that there is in general a certain degree of confusion in his groupes, and obscurity in his allegories, and that some of his statues present an awkward imitation of modern costume. Flaxman has a more exquisite perception of the beautiful. His mausoleum of Collins, and his monuments of Lords Mansfield, Home and Abercrombie, bear evidence of pure and decided

talent. I have heard high praise bestowed on his statue of Washington; and it cannot be doubted that the English sculptor, who has formed the most correct conceptions of the antique, was well qualified to produce an accurate representation of the modern Epaminondas, who bears so many traits of resemblance to the great men whose exalted virtues and simple manners are described by Plutarch. His continual study and imitation of the monuments of antiquity, have procured for Flaxman the surname of the Racine of sculpture; a compliment which is probably greater than those by whom it has been conferred intend it to be. Nothing can be more false than parallels between such opposite kinds of talent and style.The poet creates a whole drama; the sculptor, who is still more restricted than the painter, can at most represent only a single scene. However, Flaxman's profound knowledge of his art, his devoted admiration of the master-pieces of Greece, and his chaste, correct, and dignified style, prove that the complimentary comparison is in some measure just. Flaxman has published a series of drawings, which may be truly called studies of Homer and Æschylus.* He is, in short, a classic artist: must we therefore infer that he is deficient in imagination and originality? If so, he would present only one point of resemblance to Racine, who studied nature; while Flaxman has studied. the ancients more than nature. The works of Racine present an exquisite grace, sensibility, and

* His drawings from Dante are no less excellent. VOL. I.

H

finish, which do not exist in an equal degree in Flaxman's sculpture. I readily admit that his statues and groupes are characterized by the taste of the author of Phædra, but the genius of Racine is wanting.

The important monuments of London seem to be chiefly consigned to Mr. Westmacott. This artist excels in grace and harmony of contour. He ought perhaps to devote himself wholly to the representation of nymphs. His Achilles, which has been erected as a monument to the Duke of Wellington, is merely a colossal Adonis. Westmacott would have succeeded better in representing the youthful hero grouped with the daughters of King Lycomedes. Who would believe that this gladiator Achilles could ever have deceived Doedamia and her companions, under the disguise of a female ?*

Perhaps Westmacott's master-piece is his monument of Fox expiring in the arms of Liberty.The dying statesman is represented with upraised eyes, as if taking his last sad farewell of the goddess. At his feet is Peace lamenting the loss of him who so constantly pleaded her cause, and an African on his knees, expresses his gratitude to the independent minister, whose brief administration

This colossal statue, which is erected in Hyde Park, as a monument to the Duke of Wellington, represents Achilles raising his shield. The illusion is somewhat forced. The ladies who subscribed for the monument, affirm that the artist did not consult them respecting this allegorical statue; and that it was completed before the subscription was set on foot. A great outcry has been raised against the undraped figure of Achilles.