46 REVIEW.-Flaxman's Lectures on Sculpture. therefore make the substance of this lecture our first article, and add some remarks.. Mr. Flaxman commences with the Britons, who, he presumes, had no sculpture at all before the Roman times, and then of very bad execution, by inferior Italian artists. He adduces some bronze casts, bad copies of good Roman works, and says, from a passage in Speed, that the Britons cast magnificent statues in bronze for two hundred years after the departure of the Romans. (P. 7—9.) That the Britons carved monstrous idols in stone, is evident from Geldas, who calls them " pene numero vincentia Ægyptiaca, quorum nonnulla lineamentis adhuc deformibus intra vel extra deserta moenia solito more regentia, torvis vultibus intuemur" (XV. Scriptor. 2.) Now we do not recollect that any Penates or Lares have been found in Celtic barrows, and have read that the Celts abhorred any representations of their gods in the human form. It is certain, too, that the figures of the Druids engraved in Montfaucon and Borlase have no other deformity than rudeness of execution; and the scroll-work on the ancient crosses is, though in fantastic, taste, not badly worked. As these are affairs only of curiosity, not of skill, we shall dismiss them with this cursory observation. The fine fragments of good taste of pottery, Mr. Flaxman pronounces importations from Italy, because, he says, counterparts from similar moulds are found in that country. P. 10. Concerning the tesselated pavements so frequently discovered, Mr. Flaxman thus spoke: "In most of the Roman mosaics found in Britain, the principal object of the design is a Bacchus, or an Orpheus_playing on his lyre. Those mosaics with the Bacchus are of the best design and workmanship, for which this reason may be given-that the Bacchus Musagetes was frequently introduced before the time of Alexander Severus, in sarcophagi and other works, that divinity being much liked by the Romans, as patron of the drama; consequently those mosaics are likely to have been done in the course of 170 years, between the reign of Domitian, when the Britons adopted the buildings and decorations of the Romans, and the year 240, when the Orphic philosophy spread its influence in the Roman empire. From this period to the year 336, the representations of Orpheus may be dated, after which time they were succeeded by Christian characters and symbols," P. 10. [Jan. We To this passage we demur. know of an Apollo and Hercules called Musagetes, but of no Bacchus. It is true that Marcus Aurelius and Alexander Severus did both hold Orpheus in the highest honour; and it is possible that the figure of that father of fiddles,* for the centre of pavements, was very fashionable in the time of those Emperors; but the mythologists say that the musicians introduced the worship of Bacchus, and that the Orpheii were connected with the latter. The hypothesis of Mr. Flaxman has therefore a very slippery foundation. From the third to the fifth century, says Maillott, " sculpture, to which we are indebted for the most precious connaissances of antiquity, has barely left us some gross and shapeless statues, ill calculated to illustrate the study of history" (Costumes et Usages, vol. iii. p. 2.); and according to the coins of Merovec and Childeric, the imitation of the Roman style of that æra is palpable. (Idem, pl. i.) Fashions in the whole middle age travelled from Italy to France, and from thence to England. Mr. Flaxman therefore very correctly observes, that the heads of the Saxon kings upon their coins were borrowed from those of Dioclesian, &c. upon the Roman money (p. 10). Their sculpture, he says (p. 11, 12), was horrible and burlesque. But there are exceptions. The discovery of the coffin of Saint Cuthbert has given us some carved figures from which we may determine the style. The drawing is exceedingly bad, fit only for schoolboys (see Raine's St. Cuthbert, pl. iv. &c.) There are other sculptures, especially of scrolls and dragons; but we know from Olaus Wormius, that the northern nations annexed an allegorical meaning to monsters, and that they were in many instances similar to the "armes parlantes" of heraldry, and rebuses upon names. Mr. Raine, speaking of Cuthbert's coffin (p. 190), says, that "a sharp pointed knife, or some such instrument, certainly not a chisel, and a scrieve, or goodge, were evidently used." How sculpture in stone, under the desideratum of a chisel, could be executed, we know not. Concerning sepulchral figures Mr. Flaxman says: * Fiddles are only lyres with a neck, played by a bow instead of a plectrum.-REV. 1930.] REVIEW. Flaxman's Lectures on Sculpture. "In the beginning of the sixth century, when the Franks and Germans began to establish themselves in Gaul, they buried their sovereigns in plain stone coffins, without any exterior distinction or inscription. The name of the deceased was written on the inside of the cover. This was done to prevent the tomb being violated for the sake of Jewels and other valuables. In the reign of Charlemagne, who was contemporary with our king Edgar, the French began to decorate the outside of their tombs with statues of the deceased, and other ornaments, bearing some resemblance to the Roman manner." P. 11. No Anglo-Saxon sepulchral effigies is known, but, "Immediately after the Norman conquest figures of the deceased were carved in bas relief on their gravestones, examples of which may be seen in the cloisters of Westminster Abbey, representing two abbots of that church, and in Worcester cathedral those of Saints Oswald and Wulstan." P. 12. Of course these were not portraits, which, according to Mr. Gough, did not commence till after the thirteenth century. Mr. Flaxman proceeds: "The crusaders introduced the rich foliage in architecture and statues against the columns, as we find at the west door of Rochester cathedral, built in the reign of Henry J." P. 12. He then adds, in explanation : "The custom of carving a figure of the deceased in bas relief on the tomb seems likely to have been brought from France, where it seems to have continued in imita tion of the Romans. Figures placed against columns might also be copied from examples in that country, of which one remarkable instance was a door in the church of Saint Germain de Pres, in Paris, containing several statues of the ancient kings of France, projecting from columns, a work of the tenth century, of which there are paintings in Montfaucon." P. 13. Badly drawn as may be the human figure, when in nudity, the drapery, though stiff and stately, is commonly graceful. 47 The sculptor books to assist the artist. could not be instructed in anatomy, for there were no anatomists. A small knowledge of geometry and mechanics was exclusively confined to two or three learned monks, and the principles of those sciences, as applied to the figure and motion of men aud inferior animals, was known to none. Therefore these works were necessarily illdrawn and deficient in principle, and much of the sculpture is rude and severe; yet in parts there is a beautiful simplicity and irresistible sentiment, and sometimes a grace exceeding more modern productions." Mr. Flaxman, proceeding to the thirteenth century, particularizes the figures at Wells cathedral, built in 1242, which he conceives were sculptured by Englishmen, because the style. is different from the coeval Italian (p. 16, 17). These are well represented in Carter's Ancient Sculpture," &c. Why the execution was necessarily rude and imperfect, he thus explains: "There were neither prints nor printed P. 16. for we are sure that the Greek chisel We cordially agree with this eulogy, figures than those of the Crusaders in never produced two finer prostrate the twelfth century, engraved by Strutt (Dresses pl. xlv. xlvi.), examples which appear to have been unknown to Mr. Flaxman. They are carved in wood, and are justly called by Strutt "admirable." P. 117. Mr. Dallaway, the late editor of Walpole on Painting (i. 35), says, that the statue of Eleanor Queen of Edw. I. is said to have been modelled from her person after death, probably by an Italian sculptor, and that the effigies was the prototype of numerous images of the Virgin Mary for a century after wards. Mr. Flaxman is likewise of opinion, that the Queen's effigies was Italian work, because the tomb and sepulchral statue of Henry III. were executed by artists of that nation, and the figure partakes of the character and grace particularly cultivated in the school of Pisano, the great restorer of sculpture. Mr. Flaxman finds the foliage and historical sculpture of the time of Edward III. surprising for beauty and novelty, and rejoices that the sculptors employed in St. Stephen's chapel were Englishmen (p. 18). He shows the beauties of the age in the following detail: "The monuments of Aylmer de Valence, Earl of Pembroke, and Edm. Crouchback, in Westminster Abbey, are specimens of the magnificence of such works in the age we are speaking of. The loftiness of the work, the number of arches and pinnacles, the lightness of the spires, the richness and profusion of foliage and crockets, the solemn repose of the principal statue, representing the deceased in his last prayer for mercy to the the group of angels bearing the soul, and throne of grace, the delicacy of thought in the tender sentiments of concern variously expressed in the relations ranged in order 48 REVIEW.-Memoirs of Simon Bolivar. round the basement, forcibly arrest the attention, and carry the thoughts not only to other ages but to other states of existence.' P. 20. We refer our readers to the figures of the two angels in Carter's Gloucester Cathedral, published by the Society of Antiquaries, in proof that this eulogy is not too enthusiastic. Mr. Flaxman then proceeds to the fifteenth century, and fixes upon as fine specimens, the statue of Hen. VI. holding the sceptre in both his hands, at All Souls' College, Oxford; the Coronation of Henry V. at Wesminster Abbey, and the monument of Richard Beauchamp Earl of Warwick, at Warwick. Of the former he says: "The sculpture is bold and characteristic, the equestrian group is furious and warlike, the standing figures have a natural sentiment in their actions, and simple grandeur in their draperies, such as we admire in the paintings of Raphael or Massacio." P. 22. Of the latter, done by William Austin, of London, "The figures are so natural and graceful, the architecture so rich and delicate, that they are excelled by nothing done in Italy of the same kind at this time, although Donatello and Ghiberti were living when this tomb was executed in the year 1439." P. 22. We shall now make the following extract concerning Henry the Seventh's Chapel, and the extinction of our mediæval sculpture : "The building of all others most intended for, a receptacle and display of sculpture, was Henry the Seventh's chapel, at Westminster. It is founded on good presumption, that Torregiano was employed on the tomb only, and had no concern with the building or the statues with which it is embellished. The structure appears to have been finished, or nearly so, before Torregiano began the tomb, and there is reason to think that he did not stay in this country more than six years, which time would be nearly, if not quite, taken up in the execution of the tomb and some other statues about it now destroyed, together with the rich pedestals and enclosure. The architecture of the tomb has a mixture of Roman arches and decoration very different from the arches of the chapel, which are all pointed. The figures of the tomb have a better proportion, and drawing, than those of the chapel, but the figures of the chapel are very superior in noble simplicity and gra ndeur of character and drapery. "After the observations on this building [Jan. we must take a long farewell of such noble and magnificent effects of art, in raising which the intention of our ancestors was to add a solemnity to religious worship, to impress on the mind those virtues which adorn and exalt humanity." P. 25. Such is the substance of Mr. FlaxThe subject is man's first lecture. treated in detail in Carter's elaborate. work. The fact is, that people treat medieval sculpture in reference to the Grecian, which regards only the human figure in nudity, and is as different from the Gothic as calligraphic penmanship is from the black-letter. Both the design and the taste were toto cœlo distinct. The display of breasts, legs, and arms, was not sought in the latter. The one object was the human figure deified; the other excluded perfection of person, and considered only religious effect in the character and attitude; and that both admirably succeeded in their respective styles, is beyond question. (To be continued.) Memoirs of Simon Bolivar, President Liberator of the Republic of Colombia; and of his principal Generals; comprising a secret history of the Revolution, and the events which preceded it from 1807 to the present time. By Gen. H. S. V. Ducondray Holstein, ex-Chief of the Staff of the President Liberator. In two vols. THE only means of retaining distant colonies in obedience, are the exercise of virtue in the Governors, and advantages resulting from the connection. Our success in India has been owing to such conduct; it has conferred upon the people benefits unknown under the despotism of their native princes. Instead of acting with similar policy, the Spaniards made slaves of the people of South America, and of the country, a golden apple of the Hesperides, of which they extracted the sweet juice. As soon as the parent country was irrecoverably, according to appearance, struggling under the constrictions of the French Boa, the auriferous colony seised the opportunity of proclaiming its independence. This was the first step. It has generally been supposed by our countrymen, that South America is another Paradise, in the state of Eden before the fall, and its natives, noble-minded Greeks and Romans, combating for liberty. The truth, 1830.] REVIEW.-Memoirs of Simon Bolivar. however is, that fine territories are only a waste, where there exist not morals, and the arts appendant to civilization, and where the natives are demi-savages. The country has not even arrived at that first physical token of civilization, passable roads throughout it, and though the want of turnpikes may be natural, there are few bridges or ferries (see p. 18); education is either totally neglected, or extremely defective; agriculture (though the soil can produce yearly two harvests) is in the same low state with every other source of profit or comfort (p. 32); and if, as General Holstein says, the Colombians are at least 150 years behind the United States in the science of government (p. 73), we think that the distance between the Colombians and ourselves must be considerably greater; indeed immeasurable, if knowledge and resources are connected with such science. As to the warfare between the contending parties, it does not resemble that of civilized Europe, nor even the improved form of savageness which distinguishes Turkey, but that of tribes of Indians, scalping and torturing. The book before us shows, that if the author has exaggerated, we have not. Bolivar, according to his accounts, is rather to be deemed an Indian chief than an emperor. He is a manifest imitator of Napoleon, with about as much real pretensions to the French Satan's magnificent talents, as the Frog of Esop had to the bulk of the Ox. He has wriggled himself into power by cunning; in point of fact, he is not a lion, but a snake. He was born at Caracas, July 24, 1783, being the second son of Don Juan Vicente Bolivar y Ponte, a militia Colonel, and a Montuana, or Caraguin nobleman. According to the prevalent custom he was, in 1794, sent for education into Spain, from whence he removed to Paris, and returned in 1802 to Madrid. There, at the age of nineteen, he married a lady only sixteen. In 1809 they returned to Caracas, and lived in a very retired manner upon their large estates. Shortly afterwards his lady died without issue; and as we know a parish pauper, who when censured by the magistrate for illicit connexions, said, that he preferred concubines to wives, and pleaded the example of Abraham, so does it appear (i. 156) that this military Attorney, or AttorGENT. MAG. January, 1830. 49 ney-General (for his whole conduct is We cannot notice innumerable battles, which ought to be styled battles not for conquest, but murder; and politics, implying not public good, but selfish aggrandizement. Fortunately, in point of the numbers engaged, each campaign, compared with those of Europe, has been only, in Lord Thurlow's phrase, a storm in a wash-hand basin. We have before said, that the real character of Bolivar is, in our opinion, that of a first-rate Attorney; but, because according to our author (i. 76) the majority of mankind admire splendour, power, and success, and are little influenced by truth or impartiality, the Dictator-Liberator has acquired a great name. A strong desire in consequence is felt, to know what sort of a man he is. We shall therefore first observe, that to judge from the plate in vol. i. he is in person high-foreheaded, dark eye-browed, lengthily nosed, and peakedly chinued, well made, but, according to the print, somewhat knockkneed. Whatever his enemies may say, his countenance indicates strong intellect. General Holstein, who certainly is not an honest chronicler, like Grif fiths, for he omits all good qualities, thus speaks of him: "General Bolivar occupies himself very little in studying the military art. He understands no theory, and seldom asks a question, or holds any conversation relative to it. Nor does he speak of the civil administration, unless it happens to fall within 50 REVIEW.Memoirs of Simon Bolivar. the concerns of the moment. I often endeavoured to bring him into serious conversation on these subjects, but he would always interrupt me; 'yes, yes, mon cher ami, I know that, it is very good; but apropòs' and immediately turned the conversation upon some different subject. "His reading, which is very little, consists of light history and tales. He has no library, or collection of books, befitting his rank, and the place he has occupied for the last fifteen years. He is passionately fond of the sex, and has always two or three ladies, of whom one is the favourite mistress, who follow him wherever he goes. "Dancing is an amusement of which he is also passionately fond. Whenever he stays two or three days in a place, he gives a ball or two, at which he dances in his boots and spurs, and makes love to those ladies who happen to please him for the moment. Next to this amusement he likes his hammock, where he sits or lolls, conversing or amusing himself with his favourite mistress, or other favourites, some of whom I have named in the course of this work. During this time he is inaccessible to all others. The aid-de-camp on duty says to those who have important business to transact with him, 'His Excellency is deeply engaged at present, and can see no one. When he is out of humour, he swears like a common bully, and orders people out of his presence in the rudest and most vulgar manner. From his habits of life, or rather from his love of pleasure, it happens that many matters of business are heaped together, and left to his Secretary, as his decree of 8th March, 1827, fixing the Customhouse duties of Venezuela, which is attributed to Ravenga, and which has destroyed the commerce of the country. When he suddenly recollects some business, he calls his Secretary, and directs him to write the letter or the decree. This brings more to mind, and it often happens that in one day he hurries off the work of fifteen or twenty. In this manner it often happens, that decrees made on the same day are in direct opposition to each other. "General Bolivar has adopted the habits and customs of the European Spaniards. He takes his siesta (noon nap) regularly, and eats his meals in the manners of the Spaniards. He goes to tertulias (coteries), gives refrescos, and always dances the first minuet with the lady highest in rank in the company. This old Spanish custom is strictly observed throughout Colombia. "Inasmuch as General Bolivar is the sport of circumstances, it is difficult to trace his character. Bolivar, in success, differs not circumstantially alone from Bolivar in adversity; he is quite another man. When successful, he is vain, haughty, ill-natured, violent; at the same time, the slightest circumstances will so excite his jealousy of his [Jan. authority, that he arrests, and sometimes condemns to capital punishment those whom he suspects. Yet he in a great measure conceals these faults, under the politeness of a man educated in the so called beau monde. They appear in his fits of passion, but not however unless he is sure of having the strength on his side, the bayonets at his command. When he finds himself in adversity, and destitute of aid from without, as he often did from 1813 to 1818, he is perfectly free from passion and violence of temper. He then becomes mild, patient, docile, and even submissive. Those who have seen him in the changes of his fortune, will agree that I have not overcharged the picture." The representations of an enemy are distortions in caricature. Bolivar is plainly not a hero, saint, or philosopher, but he is a capital managing fellow; a finished man of the world, who has acquired the happy knack of disarming political adversity of much of its mischief. He avoids irritation. Of his attorneyist, the following extracts give more than sufficient attesta. tion. "The predominant traits in the character of General Bolivar are, ambition, vanity, thirst for absolute undivided power, and profound dissimulation. He is more cunning, and understands mankind better than the mass of his countrymen; he adroitly turns every circumstance to his own advantage, and spares nothing to gain those he thinks will be of present use to him. He is officious in rendering them little services; he flatters them, makes them brilliant promises; finds whatever they suggest very useful and important, and is ready to follow their advice. A third person suggests something to him, or he meets with some unexpected success-instantly he resumes his true character, and becomes vain, haughty, cross, and violent; forgets all services and all obligations, speaks with contempt of those he had just courted, and if they are powerless abandons them, but always manifests a disposition to spare those whom he knows able to resist him." ii. 236. All this shows that, if Bolivar be not an invincible General, what mankind deem a demigod, he is at least a deep Machiavelian. The extract quoted shows only this, that he makes friends wherever and by what means he can, but crushes all who are likely to compete with, or to obstruct him. Philosophers know, that physical power alone (for nobody envies a steamengine) can overcome rivalry, and that selfishness in consequence becomes an affair of prudence. Enemies, or dan |