Postscript by Mr. Carey. !! plorable indeed. The grounds on In the hope of calling the atten- i which my apprehensions rested may tion of the public to this subscrip-be correctly judged of, by those who tion, and giving more force to the know that Mr. Rhodes, a resident present effort in behalf of a young of Sheffield, in his very tasteful and artist of high and commanding pro- entertaining work, " The Peak Scemise, I may be allowed to refer to nery," has recorded the astonishing my past judgment of other young and melancholy fact (mentioned in artists. I confine myself to two, your last), that he has repeatedly Chantrey and Gibson. As my early heard Chantrey declare, he did not prophetic anticipation of these two receive by his professional efforts, artists has been fully verified, I in six years of his outset, as many conceive, that while the readers keep pounds. I considered the press the those instances in view, my humble greatest moral force in society; and but earnest recommendation of Ho. immediately employed that most efgan will have greater weight. Chan- | fective engine to rouse a public intrey, who had been apprenticed to terest in his favour. A short extract Mr. Ramsay, a carver and gilder in from one of my appeals in behalf of Sheffield, was, in 1805, endeavouring Chantrey will be here sufficient: to force his way in that town as a “ Fortunately they have in Chanself-taught portrait-painter and mo- trey a sculptor every way capable deller; and before he had ever used of fulfilling their intentions, and of the chisel, or worked in marble, on a reflecting credit on their choice. This view of the first three busts that he young artist, whose modesty and zeal had ever modelled and exhibited in for improvement are equal to his taclay or plaster, I ventured publicly; lents, was born so immediately in the through the powerful instrumentality vicinity of Sheffield, that its townsof the press, to term him a sculptor, men will probably at no distant peand to call upon the people of Shef- riod be proud to claim him as a nafield to afford him an opportunity of tive of their town.”—(See a letter developing his genius, by putting the by William Carey in “ The Iris, chisel into his hand, and employing or Sheffield Advertiser," Nov. 21, him to execute an intended public 1805, in the “ European Magazine" monument of Nelson. I was im- of Jan. 1, 1806, and in other conpelled to this bold measure by hav- temporary publications). ing before my eyes, the miserable It is evident that no man, but one death of the young sculptor, Proctor, || impressed with a powerful certainty, esteemed by the Royal Academicians would have ventured to make this conthe British Phidias. That inspired fident appeal in behalf of a young, unartist, although under the discrimi-| friended, provincial portrait-painter, nating eye and liberal patronage of to whom he was an utter stranger London, perished, through the neg- only a few days before, and who was lect of the periodical press, and the struggling in the midst of the formi. apathy of his own time. It appear-dable obstacles and local prejudices ed to me therefore that the prospects which oppose every self-taught beof Chantrey in Sheffield were de- ginner in the art in a country town, Vol. VI. No, XXXVI.

3 A

at a distance from the patronage of passage of a public speech in Shefthe capital. It may be deemed a des- | field, on the 12th of Dec. 1892:perate hazard on my side. But se- “ And now I may mention a greater venteen years after, my prophetic name than any of these: Francis words were almost literally fulfilled Chantrey was not indeed a native of by Montgomery*, in the following this town, but having been born at * In a speech delivered by Mr. Mont

Norton, in Derbyshiro (four miles gomery on occasion of the dinner given

hence), within the limits of this corto him at Sheffield on his birthday, the poration, HE BELONGS TO US AND IS 4th of November last, he bears honour. ONE OF us." In 1822, Chantrey had able testimony to the zeal of Mr. Ca- || filled the world with his fame, and rey's efforts to draw forth his poetic ta- || his name was brought forward as the lents from obscurity. Speaking of the proudest boast of Sheffield; but in first volume of poems which he publish 1805, before he had handled the ed, he says, “ While this was leisurely | chisel, or cut a stroke in marble, I proceeding through my own press, a gen- | saw in the infant Hercules the fulltleman of high talent and skill, both in grown Hercules in his manhood, tripoetry and painting, Mr. William Carey, l umwhant in all his undertakings. I made several visits to Sheffield; and with

now may most truly say (what my him I soon became so well acquainted,

former printed words testify), that I that I communicated to him my poems

was as fully iinpressed with the powand my projects. With zeal, intrepidity,

ers of Chantrey in 1805, before he and perseverance most exemplary, he took up my cause; and not only recom

was a practical sculptor, from a view mended the unknown poet in distant parts

of his three first exhibited models in of the kingdom which he visited profes

clay or plaster, as I am now, after sionally, but made me better known as

having seen with honest exultation such even at home.” He then passes to Mr. the whole commanding series of his Carey's exertions in behalf of Chantrey: | works down to the statue of Cyril

"I ought to remark here, that Mr. Ca- || Jackson and that of Mr. Watt, rey, about the same time, found a far which, in pure and noble truth of worthier object of his fearless panegy- nature, do not merely equal but surrics than myself in a sister art. Mr. pass any single statue from life by MiChantrey had not then fully come out of chael Angelo, the greatest sculptor the marble in which Nature had inclosed since the revival of the arts in Italy. him, like one of his own rival creations

Surely I may now, with perfect proof her master-pieces. The stranger saw,

anger saw, priety on public grounds, in discharge atknowledged, and proclaimed his ge

of a sweet and pleasant duty, appeal nius, which had been comparatively little recognised, except by Dr. Younge be deprived. He has only to appeal to a and a few other gentlemen of liberal file of newspapers, to secure for himself taste. Mr. Carey's letters in the Iris with respect to Chantrey the gratitude concerning the youthful sculptor are of the public. His spirited exertions in trophies of his acuteness in discerning, | my behalf, being less palpably recorded his courage in extolling, and his presci- in Sheffield, this ingenuous recognition ence in foretelling the merits and for- of them I rejoice to offer at a time so fatunes of him who was born in our neigh- || vourable, and in a place from which they bourhood, and is claimed as our towns- will probably be declared throughout the man. Of this glory Mr. Carey cannotwhole kingdom."— Note of the Editor.

to my correct estimate of Chantrey's Gibson's model of Psyche is grace genius, in order to rouse our public and ideal beauty." bodies in behalf of Hogan, a young To the above extract from my sculptor of whom I have formed the letter in the “ Liverpool Courier," highest and proudest hopes. || I shall add the following from my • In 1810, from a view of the first “ Cursory Thoughts on the present model ever exhibited by Gibson, who State of the Fine Arts, occasioned by was then an apprentice in Liverpool, the Founding of the Liverpool AcaI had a similar deep impression of his demy," published July 18, 1810: powers; and still remembering that “Gibson, a very young man, now Proctor, with all his splendid genius, | a pupil of Mr. Francey, has diswas starved to death in London, in played talents well worthy of encoulthe midst of its boasted patronage, Iragement. If the country performs anxiously ventured to incur the an. its duty to him, and he perseveres ger of those who had overlooked this in the vigorous pace with which young artist. I made a public appeal he commenced, there is no elevation to his country in his behalf in the of art to which this extraordinary • Liverpool Courier," in Oct. 1810, young man may not hope to attain.of which the following brief extract P. 43. will be sufficient:

I could adduce a number of simi“ It may be supposed that this lar instances, during more than thirty artist can have had very few oppor- years, of my correct judgment against tunities of studying the antique; but the opinion of the multitude, and of this memorable figure, the glory of my earnest, prompt, and decided efthe first Liverpool exhibition, is a forts in behalf of other young artists proof that he has already drunk on their forlorn hope, that is, in their deep of its inspiration.

outset, when they most needed aid; “ While others at a maturer age but I hope the reader will be satisfied have been contented with the repu- with these two. The modelof Psyche tation of merit in a single part of the was the first work which Gibson ever figure, Gibson, a youth, an appren- exhibited. He was in 1810 an aptice, has had the courage to under-prentice in Liverpool, an entire strantake and execute the whole figure, ger to me, and I to him. I did not, with a success, considering his years, even by any chance, see him until perhaps unparalleled in the history many months after, when he called of British art. In that high depart-on me at my house in London. The ment, which seulptors and painters country did make an honourable exhave pronounced the most inaccessi-ertion for him, and he proceeded ble, he has made this noble essay. shortly after to Italy, where he was The grace and beauty of the female speedily distinguished by the approform have ever been considered the bation of Canova and other eminent test of an artist's power. How few artists. He is now ranked among have possessed that power! What a the first sculptors at Rome in the multitude, excelling in other parts | ideal style, and enjoys the highest of the art, have failed in this pur- patronage. suit! Yet the prevailing character of I have at this moment as confident a presage of Hogan's success, if his || phaelic feeling, and a fine imaginacountry will but do him justice, as I tion. had of Chantrey's in 1805, and of I have paid Sir John Fleming Gibson's in 1810. The powers of Leicester's princely and spontaneous Chantrey consisted in a discrimina- | contribution into Messrs. Hammerstive eye, that appeared to me capable || leys' bank, where the friends of naof reflecting the noble and affecting tive genius, and particularly the Irish character of nature with unrivalled nobility and gentry resident in Engtruth: the powers of Gibson were land, are earnestly and most respectMichael Angelesque, grand and ima- | fully solicited to send their subscripginative: the powers of Hogan are, tion-money, for the laudable purpose a refined taste, a correct eye, a rea- of promoting the glory of their coundy hand, anatomical science, Ra- Il try.

MUSICAL REVIEW. AMICITIA," Sonata for the Pia- 1) of an andantino, an extensive and

no-forte, with Acompaniment for elaborate allegro, an adagio, and a Flute or Violin, ad lib. composed, rondo allegretto. The whole in four and dedicated to J. Moscheles by sharps, except the adagio, which his Friend, J. B. Cramer. Op. has five. The two quick movements 69. Pr. 6s. — (Cramer, Addison, are sure to please all classes by the and Beale, Regent-street.) sprightliness and good-humour which

Our readers are sufficiently aware characterize the leading motivos, as how often we have deplored the al- || well as the general style of treatmost total disappearance of compo- | ment. Upon the whole, the execusitions under the above title, in which || tion is not liable to very deterring mastery in the art is best capable of difficulties, especially for players that displaying itself, and in which all the are used to some few sharps in the great names in its more recent histo. || scale. ry, including our excellent author, Six Waltzes, composed for the Pihave immortalized themselves. ano-forte, and dedicated to Mrs.

Here, then, we find our wishes gra- || Lowe, by D. Schlesinger. Pr. 4s. tified to their utmost extent, by a IL -(Cramer and Co.) work of such rare excellence and || In the composition of dances, if beauty, that the comments of the they are to be good for any thing, critic can only consist in expressions | more is required than may perhaps of the warmest admiration. The be supposed — first of all melodic sonata is worthy of the two great | invention, and next to it clearness of names it bears on its title; it will be musical thought, and, what is akin sought for with eagerness on the to the latter, a mind imbued with a Continent, it will be cherished by predominant feeling of rhythmical future generations. Without enter- regularity and symmetry. We have įng into a detail, which might only assayed Mr. Si's waltzes by these diminish the impression we wish to tests, and the ore has proved to be excite, we shall content ourselves standard; much above standard wę with stating, that the work consists should be compelled to say, were

the musical standard to be measured || 3. Select Pieces from Rossini's by the circulating medium of the pre- || and other Operas; adapted for sent musical currency. As “ cham-| the Flute and Piano-forte, by G. ber" compositions—we would hardly || Loder. No. I. Price 3s.—(Gouldtake them to Almack's — the six | ing and Co.) waltzes are deserving the attention | 4. The favourite French Air, Le of the most cultivated amateur; there | Portrait ;" with Variations for is much good melody spread through the Piano-forte, composed by J.

and many of the ideas are con- | . Valentine. Pr. 2s. 60.-(Chapspicuous for their novelty. A mo- | pell and Co.) derate player will find the whole 5. “ Le petit Tambour;" an admired within the compass of his attain French Air, partly taken from ments, and we cannot point out more

Mayseder's Violin Solo; adapted interesting and beneficial lessons for and arranged as a Rondo for the the lighter hours of musical study. Flute, with a Piano-forte AccomMarch for the Piano-forte; com

paniment, by Bernard Lee. Pr. posed, and dedicated to the Misses

3s.--(Longman and Bates.) Bennetts, by J. C. Nightingale.

6. The Vesper Hymn, with VariaPr. 25. -(Longman and Bates,

tions and Introduction, composed Ludgate-Hill.)

by Samuel Poole. Pr. 2s.—(Long

man and Bates.) Not only a march, but also an al

1. Mr. Cramer's arrangement of legro g, both in Eb. The march

Fischer's rondo is quite what it ought is well devised, regular, decisive, and

to be, easy, unaffected, without being clear in its successive ideas. The al

uninteresting or trifling. We have legro, too, is pretty, very melodic,

the rondo tale quale, with the very and tasteful; so that the whole may

best harmonic treatment, and with be strongly recommended to pupils

various additions in the way of diof moderate advancement. In the 7th bar of the trio (in two flats) of

gression and passages, by way of the allegro, the proper harmony is

good seasoning. Performers of li

mited acquirements will feel greatly C 46, C7: the Bb's therefore in

| indebted to Mr. C. for having put it the first half of the bar are objec

in their power to treat their friends tionable.

and themselves with so engaging a ARRANGEMENTS AND VARIATIONS.

piece bearing his name. 1. Fischer's celebrated Rondo in Eb; 2. We have only seen these two

newly arranged, with an Introduc- | books of Mr. Burrowes's edition of tion for the Piano-forte, by J. B. the Crociato, which is to be comCramer. Price 2s. 60.-(J. B. pleted in four books. The adaptaCramer and Co.)

tions of this opera cannot be too 2. Select Airs from Mayerbeer's ce- much multiplied and circulated, and

lebrated Opera Il Crociato in Mr. B. is the man to do justice to Egitto;" arranged for the Piano- things of this kind; in the essentials, forte, with an Accompaniment (ad. | as well as the ornamentals, of melody lib.) for the Flute, by J. F. Bur and harmony, he is sure to hit the rowes. Books I. and II. Pr. 4s. || mark, as readily as a lawyer would each.-(Goulding and Co.) read a brief or a lease. This re

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