which, whether for our ecclesiastical or civil purposes, is totally inapplicable to the present state of manners: in particular we intended to have given some strictures on the modern Gothic fronts of the houses of Parliament, Kew Palace, and some other edifices we could name; but at present we shall merely say that they merit our utter disapprobation.

In engraving, the English school maintained the reputation which Woollett, Vivares, Strange, and others had acquired for it. Hall, Legat, Basire, Earlom, Ryland, and Heath, prosecuted the line manner upon the soundest principles, and with the greatest success. Ryland, besides the excellence which he displayed in this manner, of which his Jupiter and Leda, after Boucher, is so fine an example, introduced the stippled, chalked, or dotted manner, which he had learnt in France; and by the success with which he cultivated it, he procured it so favourable a reception, as to prove injurious to the interests of the higher departments of engraving. It is now almost entirely confined, and very properly, to small portraits.

Sandby, who may be considered as the father of English watercolour painting, also introduced from France the art of aquatinta engraving, which, by the improvements it has subsequently received from several English artists, has been of the greatest importance, particularly in landscape, and in such book-illustrations as could not bear the expense of the line manner.

Mezzotinto, which had been almost exclusively devoted to portraits, was, by Valentine Green, applied to historical subjects of a large size, which he executed with great beauty of effect, and fidelity to the originals.

In short, such was the excellence of the British school of engraving, that the works of British artists came into high estimation on the Continent, and soon formed an interesting branch of the commerce of the country; and although we have no reason to say that any decline in the talent of our artists has taken place, we have to regret that, probably from want of spirit-in publishers, the art, instead of being devoted to historical subjects and heroic landscape, has been engaged chiefly in the drudgery of topographical subjects and book decorations. These, although sufficiently profitable in a pecuniary point of view, nevertheless, as damping the enthusiasm of genius, and throwing out of view the higher objects of art, must have had a pernicious influence on the advancement of taste in the country.

It is now time for us to endeavour to form a just estimate of the influence of the Royal Academy, in improving the arts of design since its establishment. For this purpose we shall take a

view of its constitution, and the means of instruction which it affords to its students.

This institution consists of forty academicians, who may be painters, sculptors, or architects; with twenty associates, from amongst whom vacancies in the list of academicians are filled up; and six associate engravers. Ever since the foundation of the Academy, drawing or design has been the only branch of art, to the advancement of the students in which any considerable attention has been paid. In this department there are two schools, the antique academy, and the model academy. The former is furnished with an excellent collection of the finest casts from the choicest remains of ancient art, and is under the special superintendance of the keeper, whose duty it is to instruct the students. The model academy is under the care of a visitor, as he is called, chosen from the academicians, who take the duty monthly in rotation. Those students who have acquired due proficiency in drawing from the antique, on applying to the council, and producing a specimen of their progress, are admissible to the model academy. The object of study here is the naked figure, or living model. The whole of the anatomical instruction afforded by the Academy consists of six lectures given by the Professor, illustrated by the skeleton and plaster-casts of the external muscles, the motions of which are exemplified on the living model. This, on the whole, must be allowed to be a very imperfect mode of teaching anatomy, as the course is short, and the dead subject is never presented before the pupils, who, of course, have no opportunities for dissection.

Six lectures are delivered in the course of the season, by the Professor of Painting; but, notwithstanding the learning and knowledge of the art which Mr. Fuseli has evinced, these lectures lose much of the interest they would have, as, with the exception of Head's three copies after Rubens, Sir James Thornhill's copies of the cartoons, and the Diploma Pictures in the Council-room, (presented by the academicians on their election,) there are no pictures which the Professor can refer to in illustration of the subject. Very recently, the Academy, stimulated by the more liberal example of the British Institution, has opened a school of colouring, by setting before the students a few specimens of the most celebrated old masters, borrowed for the purpose. This will supply one great desideratum in the establishment, and be a decided advantage to the students.

Six lectures are delivered by the Professor of Sculpture, and the same number on architecture. A course of lectures is also at present delivered by Mr. Turner, Professor of Perspective. They are remarkable only for the beauty of the drawings he

exhibits for their illustration, and the absurdity of attempting to teach this art, in all its complicated details and minute processes, without accompanying the lectures with practical exercises.

There is also a lectureship for architecture, which, for some years past, has been ably filled by Mr. Soane, as far as the means afforded by the Academy can render the talents and learning of the Professor useful or efficient.

In order to encourage the industry of the students, prize medals are annually given for the drawing of Academy figures from the antique and from the model, historical compositions in painting and sculpture, elevations and perspective drawings of buildings, and designs in architecture. By receiving a certain number of these medals, joined to the recommendations of talent, a student is entitled to receive a certain annual sum, to enable him to travel for his farther improvement.

The Academy also contains a library, consisting chiefly of works on subjects connected with art; and to it the students are admitted during a few hours in the week.

The expenses of the establishment, including salaries to officebearers, and the fund for widows and decayed members, are maintained from the proceeds of the Annual Exhibition; and these, besides answering all necessary demands, have accumulated, it is understood, to a very large sum. At first sight we should be led to imagine that the most liberal provision has been made in all the departments of the Academy, and that it contained within itself every thing necessary for the instruction of its students, and for attracting the public attention to an object of so great national importance as the fine arts undoubtedly are. But, on comparing it with other institutions of the same kind in Italy and France, we find a woful deficiency. In the department of design, where most has been done, much still remains to do. Although the collection of casts from the antique is respectable, there is not a single marble statue, no collection of prints to which the student can refer for the principles of invention, composition, or expression; and anatomy, the basis of all excellence in drawing, is so imperfectly taught, that the students who are desirous of acquiring a competent knowledge of this science, are obliged to sacrifice their time at the medical schools of the metropolis. As the funds of the Institution are sufficiently ample, it would be highly advantageous for the students if a collection of the best engravings were formed. This, while it promoted the immediate objects of the Academy, if judiciously selected and systematically arranged, would give the public a more correct view of the history and progress of art, and thus excite a warm feeling on the subject, which would ultimately

redound to the advantage of those who were more immediately connected with the arts. But the students of architecture have still more ground of complaint, as this art, which requires so much varied knowledge, is taught solely in six annual lectures, chiefly historical and critical, and is patronized only by two annual medals. There are no means of instruction provided for mathematics, as applicable to constructive architecture, and not a single model of a building,-a defect which nothing can supply. It does not appear that, since the foundation of the Academy, any of its members, except the late Mr. Barry, took much interest in this department of its internal administration; and unfortunately, notwithstanding the liberality of his feelings, and the ardour of his devotion to the art, he possessed too irritable a temperament, and too unconciliating manners, to acquire any influence over his co-academicians, and succeed in so difficult an undertaking as introducing improvements of so liberal a character *.

The British Institution, however, has supplied many of the desiderata of the Royal Academy, and been highly favourable to the arts of Britain, by directing the public attention more particularly to them, and encouraging excellence by procuring a market for meritorious works of art. This Institution was founded in the year 1805, under the patronage of his late Majesty, and is supported by the subscriptions of the nobility and gentry, and by the proceeds of the exhibitions. From the work before us we learn that Mr. West had been very active in promoting this Institution, and endeavouring to procure for it the assistance of Government, an undertaking to which he was excited by contemplating the magnificent projects entertained by Bonaparte, as detailed to him during his visit to Paris, at the peace

of 1802.

"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 constitute the olivewreath on the brows of every great nation.'

Mr. Fox and Sir Francis Baring happening to be at that time at Paris, an interesting discussion took place on the subject, 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

See his Letter to the Dillettanti Society-a work which, in a very intemperate strain of language, exhibits the most liberal views of art, and the most rational hints for improving the state of the Academy, in reference to the education of its students. We believe the publication of this letter was the chief cause of his expulsion from the Royal Academy.

point of view, in 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 assure you, Mr. West, that if ever I have it in my power to influence our government to promote the arts, the conversation we have had to-day shall not be forgotten.' Sir Francis Baring also concurred in opinion, that it was really become the imperious duty of the British nation to do something for a class of art, that undoubtedly tended to improve the beauty and multiply the variety of manufactures, independently of all monumental considerations. When Mr. West had returned home, the subject was renewed with Sir F. Baring; and he endeavoured to set on foot the formation of a Society which should have the encouragement of the fine arts for its object, and thought that government might be induced to give its pecuniary assistance. Sir Thomas Barnard took up the idea with great zeal, and several meetings took place at Mr. West's house, at which Mr. Charles Long and Sir Abraham Hume were present, which terminated in the formation of that association which now constitutes the British Institution, in Pall Mall. Mr. Long undertook to confer with Mr. Pitt, who was then again in power, on the subject, and the proposal was received by him with much apparent sincerity. But a disastrous series of public events about the same time commenced: the attention of the minister was absorbed in the immediate peril of the state, and he fell 、a victim to his anxieties, without having had it in his power to farther the objects of the association. At the death of his great rival, Mr. Fox came into office; and he soon after called on Mr. West, and reminding him of the conversation in the Gallery of the Louvre, said, 'It is my earnest intention, as soon as I am firmly seated on the saddle, to redeem the promise that I then made.' But he also was frustrated in his intentions, and fell a sacrifice to disease without being able to take any step in the business. In the mean time the Shakesperian Gallery was offered for sale; and the gentlemen interested in this project raised a sum of money by subscription, and purchased that building with the intention of making it the approach to a proposed national gallery. From Mr. Percival the scheme met with a far different reception. He listened to the representations that Mr. West made to him with repressive coldness; for he seemed to consider the whole objects of the British Institution, and the reasons adduced in support of the claims which the interests of the arts had on government, as the visionary purposes of vain enthusiasm. An incident, however, occurred, which induced him to change his opinion of the utility of the fine arts.

"At the anniversary dinner, in 1812, before the opening (of the exhibition) of the Academy, he was present, with other public characters. On the right hand of the President was seated the Lord Chancellor Eldon, on his left Lord Liverpool, and on the right of the Chancellor, Mr. Percival. A conversation took place, naturally inspired by the circumstances of the meeting, in which Mr. West recapitulated what he had formerly so often urged, and Mr. Percival, perceiving the impression which his observations made on those to whom they were particularly addressed, requested him to put his ideas on the subject in writing, and he would lay it before the Prince Regent. This took place on Saturday, on Wednesday Mr. West delivered his memorial; on the Friday following Mr. Percival was assassinated; and since that time nothing farther has been done in the business.

"It is perhaps necessary to notice here, that when it was first proposed to the King to sanction the establishment of the British Institution with his patronage, he made some objection, conceiving that it was likely to interfere