_Transfiguration by Raphael._

The t.i.tle of this picture is a misnomer. The picture itself tells you it is _the Ascension_. The Transfiguration is another incident, which happened long before the Ascension, and is recited in the ninth chapter of St. Luke:--"When the countenance of Jesus was changed, and he became [Greek: etethon] and his clothing was _white_, and lightened." The robe of the ascending Christ is BLUE.

The painter brings different incidents together to const.i.tute one plot.

The picture consists of three separate groupes, combined and united in one scheme or action.

I. Jesus ascending perpendicularly into the air, clothed in blue raiment, and attended by two other figures.

II. Some of his disciples on the Mount, who see the ascent, and lie dazzled and confounded by the sight.

III. A number of persons at the bottom of the Mount, who appear to look intently on a young man possessed by a devil, and convulsed. None of them see the Ascension but the young man, or rather the devil, who was in him, does see it. On all similar occasions, those fallen angels know the Christ, and acknowledge him. The other figures are agitated with astonishment and terror, variously and distinctly expressed in every one of them, at sight of the effect which they see is made upon him by some object which _they_ do not see.

This is the sublime imagination, by which the lower part of the picture is connected with the upper.

P. FRANCIS.

_13th July, 1816._

But although it must be confessed that this comment is exceedingly ingenious, in so far as it explains the painter's design in representing the demoniac boy, as the connecting link between the action on the Mount, and the groupe at the foot of it; yet, upon an examination of the picture, it will be found that it does not exhibit the Ascension, but the Transfiguration; and I beg leave to refer to a letter, from my friend Mr.

M'Gillivray, in the Appendix which seems to me as perfectly satisfactory on the subject as any thing of the kind I ever met with. Mr. West was of the same opinion as Mr. M'Gillivray; but in conversing with him on the subject, he did not enter into so distinct an explanation of his reasons for dissenting from the speculation of Sir Philip Francis. In criticism, however, whether the matter in question be works of art, or of literature, the best opinion is exactly that which is the most reasonable; and the point at issue here, is not one in which an artist's judgment can be allowed greater weight than that of any other man.

Chap. VII.

Observations on Mr. West's Intercourse with the King.--Anecdote of the American War.--Studies for the Historical Pictures at Windsor Castle.--Anecdote of the late Marquis of Buckingham.--Anecdote of Sir Joshua Reynolds; and of the Athenian Marbles.--Election of Mr. West to the Presidency of the Royal Academy.--His Speech to the Academicians on that occasion.

While Mr. West was engaged on the series of religious and historical works for the King, he had frequent opportunities of becoming acquainted with political incidents, that a man less intent on his art, and more ambitious of fortune, might have turned to great advantage. This was particularly the case during the American War, for His Majesty knowing the Artist's connections with that country, and acquaintance with some of the most distinguished of the rebels, often conversed with him on the subject; and on different occasions Mr. West was enabled to supply the King with more circ.u.mstantial information respecting some important events than was furnished by the official channels. I do not consider myself at liberty, nor this a fit place, to enter upon subjects so little in unison with the arts of peace, or the noiseless tenour of an artist's life; but, among other curious matters that may be thrown out for the investigation of the future historian, is an opinion which prevailed among some of the best informed in America, that when General Washington was appointed to the supreme command of the army, it was with the view and intention of effecting a reconciliation between the two countries. A communication to this purpose is said to have been made by that ill.u.s.trious man, which communication was never answered, nor ever laid formally before the Privy Council, at least not until more than six weeks after it had been received, and then it was too late. America was lost; and millions spent, and thousands sacrificed afterwards in vain. Whether, indeed, the King ever did know the whole affair, may be doubted.

The mind of Mr. West, however, had no enjoyment in political cabals, in the petty enmities of partizans, or the factious intrigues of party leaders. He was by his art wholly enchanted, and saw in the prospect before him an adequate recompense in fame for all his exertions, his days of labour, and his nights of study. The historical pictures for Windsor Castle cost him many a patient hour of midnight research; for the means to a.s.sist his composition, especially in architecture, and the costume of the time, were then far from being so easy of access as they are at present. A long period of preference for cla.s.sic literature, and the ill.u.s.tration of the Greek and Roman story, had withdrawn the public taste from the no less glorious events of our own annals. To mark, therefore, the epoch, and manners of the age of Poictiers and Cressy, of the Inst.i.tution of the Garter, and the other heroic and magnificent incidents of the reign of Edward the Third, with that historical truth which the artist thought essential to historical painting, required the inspection of many an ancient volume, and much antiquarian research. In the composition for the Inst.i.tution of the Garter, the late Marquis of Buckingham offered several suggestions, which were adopted; and on His Lordship mentioning to the King, that Mr. West was descended of the Delawarre family, the head of which bore a distinguished part in the great events of that time, His Majesty ordered Mr. West to insert his own portrait among the spectators represented in the gallery, and immediately over the shield bearing the arms of the Earl of Delawarre. Mr. West himself was not, at that period, acquainted with the descent of his pedigree; but it happened in a conversation one day with Lord Buckingham, that His Lordship enquired from what part of England his family had been originally, and upon Mr. West telling him, His Lordship said, that the land which his ancestors had formerly possessed was become his by purchase; and that the Wests of Long Crandon were sprung from the ancient Earls of Delawarre.

But, except the historical information required for his pictures, in which he was indefatigable, until master of all that could be obtained, Mr.

West, following the early and wise advice of Dr. Smith of Philadelphia, wasted none of his time in other literary pursuits. Among his learned and ingenious cotemporaries, however, he acquired a general knowledge of the pa.s.sing literature of the day, and in consequence, there are few authors of any celebrity, especially the cotemporaries of Johnson, of whom he does not possess interesting anecdotes, as well as an acquaintance with the merit which they were severally allowed to possess.

One day at Sir Joshua Reynolds, after dinner when Dr. Johnson, Goldsmith, and Burke were present, the conversation turned on the degree of excellence which sculpture attained among the Greeks. It was observed incidentally, that there was something in the opinion of the ancients, on this subject, quite inexplicable; for, in the time of Alexander the Great, although painting was allowed to have been progressive, sculpture was said to have declined, and yet the finest examples of the art, the Apollo and Venus, were considered as the works of that period. Different theories were sported on this occasion, to explain this seeming contradiction; none of them, however, were satisfactory. But, on the arrival of the Athenian marbles, which Lord Elgin brought to this country, Mr. West was convinced, at the first sight of them, of the justness of ancient criticism, and remembered the conversation alluded to.

Perhaps I may be allowed to mention here, without impropriety, that I was at Athens when the second cargo of these celebrated sculptures was dispatched; that I took some interest in getting the vessel away; and that I went with her myself to the island of Idra. Two circ.u.mstances occasioned this interference on my part;--an Italian artist, the agent of Lord Elgin, had quarrelled about the marbles with Monsieur Fauvelle, the French Consul, a man of research and taste, to whom every traveller that visited Athens, even during the revolutionary war, might have felt himself obliged. Fauvelle was, no doubt, ambitious to obtain these precious fragments for the Napoleon Museum at Paris; and, certainly, exerted all his influence to get the removal of them interdicted. On the eve of the departure of the vessel, he sent in a strong representation on the subject to the governor of the city, stating, what I believe was very true, that Lord Elgin had never any sufficient firman or authority for the dilapidations that he had committed on the temples. Luseri, the Italian alluded to, was alarmed, and called on me at the monastery of the Roman propaganda, where I then resided; and it was agreed between us, that if any detention was attempted, I should remonstrate with the governor, and represent to him that such an arrest of British property would be considered as an act of hostility. But our fears were happily removed. No notice was taken by the governor of Monsieur Fauvelle's remonstrance. In the evening I embarked on board the vessel at the Pireus, and next morning was safely landed on the island of Idra, where the vessel, after remaining a day or two, sailed for Malta.

But to return to the biographical narrative. On the death of Sir Joshua Reynolds, in 1791, Mr. West was unanimously elected President of the Royal Academy. The choice was not more a debt of grat.i.tude on the part of the Inst.i.tution, to one who had essentially contributed to its formation, than a testimony of respect deservedly merited by the conduct and genius of the Artist who, when the compa.s.s, number, and variety of his pictures are considered, was, at that period, decidedly the greatest historical painter then living, who had been born a British subject. This event, at once so honourable to his a.s.sociates and himself, was confirmed by the sanction of His Majesty on the 24th of March, 1792; on which occasion, on taking the chair, Mr. West addressed the Academicians to the following effect:--

"GENTLEMEN,

"The free and unsolicited choice with which you have called me to fill this chair, vacated by the death of that great character, Sir JOSHUA REYNOLDS, is so marked an instance of your friendship and good opinion, that it demands the immediate acknowledgment of my thanks, which I beg you to accept.

"I feel more sensibly the dignity to which you have raised me, as I am placed in succession after so eminent a character, whose exalted professional abilities, and very excellent discourses delivered under this roof, have secured a lasting honor to this Inst.i.tution and to the country; while his amiable dispositions, as a man, will make his loss to be long regretted by all who had the happiness to know him.

"HIS MAJESTY having been graciously pleased to approve and confirm the choice which you have made of me as your President, it becomes my duty, as far as my humble abilities will permit, to study and pursue whatever may be the true interest, the prosperity, and the glory of this ACADEMY. In the prosecution of this duty, I can make no doubt of success, when I reflect that all the departments and cla.s.ses of this Inst.i.tution are filled with men of established professional reputation, selected from professors of the three great branches of art, which const.i.tute the objects of your studies and, when I see this union of abilities strengthened by many ingenious productions of other able artists, who, although they have not as yet the honour of belonging to this body, will, nevertheless, enable us to maintain the accustomed brilliancy of our Exhibitions, and, consequently, to secure to us the approbation of a liberal and judicious public.

"The Exhibitions are of the greatest importance to this Inst.i.tution; and the Inst.i.tution is become of great importance to the country. Here ingenious youth are instructed in the art of design; and the instruction acquired in this place, has spread itself through the various manufactures of this country, to which it has given a taste that is able to convert the most common and simple materials into rare and valuable articles of commerce. Those articles the British merchant sends forth into all the quarters of the world, where they stand preeminent over the productions of other nations.

"But important as this is, there is another consequence of a more exalted kind; I mean, the cultivating of those higher excellences in refined art, which have never failed to secure to nations and to the individuals who have nourished them, an immortality of fame, which no other circ.u.mstances have been equally able to perpetuate. For it is by those higher and more refined excellences of painting, sculpture, and architecture, that Grecian and Roman greatness are transmitted down to the age in which we live, as if it was still in existence. Many centuries have elapsed since Greeks and Romans have been overthrown and dissolved as a people; but other nations, by whom similar refinements were not cultivated, are erased from the face of the earth, without leaving any monument or vestige to give the demonstration that they were ever great.

"It may, therefore, be fairly a.s.sumed, that an ACADEMY, whose objects and effects are so enlightened and extensive as those which are prosecuted here, is highly worthy of the protection of a patriot-king, of a dignified n.o.bility, and of a wise people.

"Another circ.u.mstance, permit me, gentlemen, to mention, because I can speak of it with peculiar satisfaction, as important to the best interests of this Inst.i.tution, and with the fullest a.s.surance of its truth, from the personal knowledge I have had of you all, and the intimacy in which I have stood with most of you; it is this, that I have ever found you steadily determined to support the regulations under which this ACADEMY has been governed, and brought to its present conspicuous situation, and by an attention to which, we shall always be sure to go on with the greatest prudence and advantage.

"It is a matter of no less satisfaction to me, when I say, that I have always observed your bosoms to glow with grat.i.tude and loyal affection to our August Founder, Patron, and Benefactor. I am convinced, it is your wish to retain His friendship, and the friendship of every branch of His Ill.u.s.trious Family. I know these to be your sentiments, and they are sentiments in which I partic.i.p.ate with you. In every situation of my life it shall be my invariable study to demonstrate my duty to my sovereign, my love for this Inst.i.tution, and my zeal for the cultivation of genius, and the growth of universal virtue."

Mr. West having thus been raised to the head of an inst.i.tution, embracing within itself the most distinguished artists at that time in the world, it might be proper to pause here to review the merits of the works and exertions by which he acquired this eminent honour, had he not, since that time, attained still more distinction in his profession. I shall, however, for the present, suspend the consideration of his progress, as an artist, to trace his efforts, in the situation of President of the Royal Academy, to promote the improvement of the pupils, by those occasional discourses, which, in imitation of the excellent example of Sir Joshua Reynolds, he deemed it an essential part of his duty to deliver.

Chap. VIII.

The first Discourse of Mr. West to the Students of the Academy.--Progress of the Arts.--Of the Advantages of Schools of Art.--On the Natural Origin of the Arts.--Of the Patronage which honoured the Patrons and the Artists.--Professional Advice.--Promising State of the Arts in Britain.

Mr. West's first discourse to the students of the Royal Academy was delivered on the 10th of December, 1792, on the occasion of the distribution of the prizes. Without ostensibly differing in his views from Sir Joshua Reynolds, who by his lectures acquired, as an author, a degree of celebrity equal to his fame as an artist, the new President confined himself more strictly to professional topics. He recalled to the remembrance of his auditors the circ.u.mstances in which the Academy originated, and reminded them of the encouragement which the efforts of artists had received from the countenance which the King had given to the arts. "Let those," said he, "who have traced the progress of the fine arts, say among what people did the arts rise, from such a state as that in which they were in this country about forty years ago, to the height which they have attained here in so short a period. In ancient Greece, from the retreat of Xerxes, when they were in their infancy, to the age of Alexander the Great, when they reached their maturity, we find a period of no less than one hundred and fifty years elapsed. In Rome we can make no calculation directly applicable; for among the Romans the habit of employing Greek artists, and the rage of collecting, suffered no distinct traces to be left of the progress of the arts among them. Even in architecture, to which their claims were most obviously decided, we see not sufficiently the gradations of their own peculiar taste and genius.

But in modern Italy, leaving out of view the age of Cimabue, and even that of Giotto, and dating from the inst.i.tution of the Academy of St. Luke at Florence, it required a hundred and fifty years to produce a Michael Angelo, a Raphael, and a Bramante."

Mr. West, after a few general observations on the necessary union between moral conduct and good taste, adverts to the alleged influence which such inst.i.tutions as the Royal Academy have in producing mannerism in the students, than which nothing can be more obnoxious to the progress of refined art. "But," said he, "while I am urging the advantage of freedom and nature in study to genius, let me not be misunderstood. There is no untruth in the idea that great wits are allied to great eccentricity.

Genius is apt to run wild if not brought under some regulation. It is a flood whose current will be dangerous if it is not kept within proper banks. But it is one thing to regulate its impetuosity, and another very different to direct its natural courses. In every branch of art there are certain laws by which genius may be chastened; but the corrections gained by attention to these laws amputate nothing that is legitimate, pure, and elegant. Leaving these graces untouched, the schools of art have dominion enough in curbing what is wild, irregular, and absurd.

"A college of art founded in this part of the world cannot be expected, like a college of literature, to lay before its young members all that may be necessary to complete their knowledge and taste. What is to be had from books may be obtained almost every where; but the books of instruction by which the artist alone can be perfected, are those great works which still remain immoveable in that part of the world, where the fine arts in modern times have been carried to their highest degree of perfection. I trust a period will come, when this Academy will be able to send the young artist, not from one spot or one seminary to another, but to gather improvement from every celebrated work of art wherever situated. But the progress and all future success of the artist must depend upon himself. He must be in love with his art or he will never excel in it.

"That the arts of design were among the first suggestions vouchsafed by Heaven to mankind, is not a proposition at which any man needs to start.

This truth is indeed manifested by every little child, whose first essay is to make for itself the resemblance of some object to which it has been accustomed in the nursery.

"In the arts of design were conveyed the original means of communicating ideas, which the discoverers of countries show us to have been seized upon, as it were involuntarily, by all the first stages of society.

Although the people were rude in knowledge and in manners, yet they were possessed of the means by which they could draw figures of things, and they could make those figures speak their purposes to others as well as to themselves. The Mexicans conversed in that way when Cortes came among them; and the savages of North America still employ the same means of communicating intelligence.

"When, therefore, you have taken up the arts of design as your profession, you have embraced that which has not only been sanctioned by the cultivation of the earliest antiquity, but to which their is no antiquity prior, except that of the visible creation.

"Religion itself in the earlier days of the world, would probably have failed in its progress without the arts of design, for religion was then emblematic; and what could an emblematic theology do without the aid of the fine arts, and especially the art of sculpture? Religion and the arts, in fact, sprung up together, were introduced by the same people, and went hand in hand, first through the continent of Asia, then through Egypt, next through Greece and her colonies, and in process of time through every part of Italy, and even to the north of Europe. In the paG.o.das of India, in some caverns of Media, and among various ruins in Persia, are still to be seen the early monuments of emblematic art, and wrought in all the possible difficulties of skill.

"When in the s.p.a.ce of two thousand years, after the erection of some of those monuments, the fine arts came to be established in Greece in a better spirit as to taste, a higher estimation could not be annexed to any circ.u.mstance in society, than was given to the arts by the wise and elegant inhabitants of that country. They regarded them as their public records, as the means of perpetuating all public fame, all private honour, and all valuable instruction. The professors of them were considered as public characters who watched over the events that were pa.s.sing, and who had in their hands the power of embodying them for ever.

And is not this still the case with the artists of every country, how varied soever may be its maxims, or its system of action, from those of Greece? Is the artist indeed not that watchman who observes the great incidents of his time, and rescues them from oblivion?

"When he turns from these views to contemplate the patronage which has been given to the fine arts, will he have less reason to esteem his profession,--a profession so richly cherished by all the greatest characters of the earth? and which in return has immortalised its patrons.

Posterity has never ceased to venerate the names of the Cosmos and Lorenzos who sought art, and fostered to their full maturity the various talents of their countrymen. The palace of the Medici, still existing in Florence, exhibits not only in its treasures the proofs of their munificence, but also within its walls those apartments and offices for artists, in every branch which those great men considered requisite to the decoration of their residence. And history has immortalised the solicitude with which the vast fortune of the family, acquired originally in honourable commerce, and rising gloriously to sovereign power, was made contributory to the nourishing of the arts and literature; of every thing that was intellectual, liberal, and great."