circumstance, he observes, the more to be regretted, as it might naturally be expected that in Great-Britain the arts would have been protected with public solicitude, and their advancement have been made a general concern, "since no other state had such treasures of reputation to confide to their charge, such triumphs to transmit, or, such heroes to commemorate." Admitting these positions to be just, the argument seems little calculated to advance the author's purpose: for, if the rivals of England respect her not for the actual triumphs which it is said she has obtained, it is not likely they should respect her more for the pictured boast of them; nor do the arts appear to be necessary to the creation of heroes for her defence, when it seems that she has produced, without their aid, heroes unrivalled in any other age or country. It is not, indeed, very easy to reconcile the various parts of Mr. Shee's argument. He asserts, that the arts left to the influence of ordinary events, can never arrive at that perfection, which contributes so materially to the permanent glory of a state, since views of profit merely can never stimulate real genius to exertion. He laments, therefore, the general apathy which, as he states, prevails upon this subject, and the consequences which must unavoidably ensue. He complains, that the fine arts have never been viewed by the British public as a national. object, nor have experienced from the state that paternal protection, which less prosperous countries have been forward to bestow and yet, in his anxiety to vindicate the genius of British artists, and to obviate any illiberal objection which might be urged against their want of talent, as the real cause of the alleged want of patronage, he has declared, that the arts of England "have already taken precedence of their age," and "that from the productions of living genius at this mo66 ment in Great-Britain, might be produced examples of ex"cellence in every department of art, that would adorn the "noblest collections, and reflect honour on any age or nation." From this statement it must necessarily be inferred, either that VOL. II. the genius of the British artists is so superior to that of the artists of all other times and countries, that in spite of neglect and discouragement it can effect as much, or more than has been done where the arts have been most honoured and cherished; or else it must follow, that patronage acts rather as a check than a stimulus to talent, and that art takes a loftier and bolder flight, when left to mount by the strength of its own wing, and soar alone and unsupported. Mr. Shee is partly aware of the objection to which this portion of his remonstrance is liable, and has attempted to qualify his inconsistency, but with little success. He still contends, that without some vigorous effort in their favour, the arts must be' expected to degenerate: he acknowledges, indeed, that by sanctioning the establishment of the Royal Academy, and by placing himself at its head, his Majesty has done much to promote their interests, and displayed a beneficent desire to recommend them to attention and respect; but affirms, that the example of the Monarch has not been seconded by the sensibility of the public, or the patronage of the great: for that while the artists maintain by the profits of their "united labours, an institution, from which the country de "rives both credit and advantage, they are themselves neglected, unsupported, and unemployed." According to him, all the wealth of individuals disposable for the objects of virtù has been diverted into channels, from which our native arts can derive no advantage, and the nation has been overrun with the works of foreign artists; though, in another place, where he is desirous to shew the necessity of studying the great masters of painting, to acquire a just taste, he attributes the want of it among the English to a kind of John Bull aversion to every thing foreign. If, in reply to this assertion, that artists are neglected and unemployed, it should be hinted that for persons without employment, their style of living and the mansions which they occupy are rather extraordinary ; Mr. Shee will answer, that it was not his intention to discuss 6 the question, whether the patronage which is extended to the arts enable the painter to live in ease and luxury;' but whether it is sufficient to make the arts flourish in pride and perfection?' that it was his desire, that an object might be held out to the ambition, not to the avarice of the painter, and that he might be fired to such exertions as should immortalize his name, and shed a glory on his country. But, if it be allowed, that the public does not withhold its wealth from the meritorious artist, the blame seems rather to attach to the painter than the patron, if the wealth be misapplied: if a man, for the convenience of passengers, go to the expence of raising a handsome causeway by the side of a miry road, it appears rather too much to require, that he should attend to point out its superior convenience, and entreat persons to leave the dirty tract and pass cleanly over by the more elevated path. Avarice is a passion, which takes deep and strong root wherever its seeds chance to fall; it thrives best in the most barren soil, and wherever it is found, no good fruit is to be expected: if then, in modern artists, the love of money be stronger than the love of fame, it seems rather unreasonable to call upon the public to undertake the expence of cultivating so unpromising a field. It is, besides, inverting the natural order of things: it is calling forth the whole strength of the community for the purpose of elevating a few individuals; it is sending rewards in search of merit, where no merit may exist, instead of placing them on an eminence where only real genius may be able to reach them it is destroying all emulation by the facility of attainment. The painter, who aspires, as Mr. Shee calls it, to have his name immortalized, must make more than common efforts, and must not depend on the aid of others for his success: his stride must be gigantic, and his spirit unconquerable: the crown of immortality was never yet won by him who required to be spurred and goaded in the race. : Mr. Shee has an apt turn for satire; but this satirical vein, though very amusing, frequently leads a man astray from his argument, and betrays him into inconsistencies. He ridicules the fashion, which, he says, prevails of viewing every thing through the commercial medium, and of calculating "the ،، claims of utility by the scale of ، The Wealth of Na“tions',"---and is very pleasant on those whom he fancies consulting Adam Smith for their theory of taste, as well as of trade, and wishing to regulate the operations of virtù on the principles of a pin-manufactory;' and, with an affected gravity, he expresses his fears, that the Muses and Graces will shortly be put down as unproductive labourers, and the pricecurrent of the day considered as the only criterion of merit. According to him, in fact, wealth is in this country the only object of esteem or pursuit; money is all in all. he admits, as he does in another place, that the not refuse a portion of this wealth to the painter, there seems little reason to complain; since a man can scarcely do more to evince his good will to another, than to offer him a share of what he himself is known to hold in highest estimation and affection. But then if public does If pressed, however, on this point, Mr. Shee will change his ground, and reply that it is not for mere employment that he contends, but encouragement, a kinder and warmer patronage, the support and countenance of the great. If reminded of the British Institution, which has been expressly formed, for the protection and encouragement of native artists, by men of the first consideration in the kingdom, he acknowledges that— "Their rank, respectability, and influence amply qualify them "to execute with effect whatever design they propose; and that his ،، Majesty's approbation of their plan, is an additional security, "that the superstructure will be both useful and ornamental to ، their country : that from an undertaking so patronized and so 66 supported, much may be confidently hoped." But he adds- "With whatever satisfaction we may contemplate this patriotic "sensibility arising in the minds of the public to the interests of the ، fine arts; or however we may look forward in grateful expecta tion to the farther developement of those views so liberally di"rected for their advancement; there will nevertheless, be some 66 reason to regret, should the government hold itself exonerated "in consequence, from all interference in their favour. The "efforts of individuals may do much to keep alive the spirit of the "arts amongst us, especially when co-operating with judgement "for that purpose; but the protection of the state only, can invi. 66 gorate their existence, or animate them to those ennobling exer66 tions, which constitute the triumph, &c. &c." He proceeds to say, that, RHYMES ON ART. P. xlvii, "It is much to be hoped, therefore, that those who may think "the arts justly intitled to the protection of an enlightened go66 vernment, and who may feel disposed to come forward in support of their pretensions, will not allow themselves to be diverted "from prosecuting so honourable a cause, or confine their zeal "exclusively to the furtherance of projects, which, however lau"dable and beneficial, cannot reasonably be expected to supersede "the necessity of that stimulus which the powers of the state can "so cheaply, gracefully, and effectually, supply."...IB. P. lviii. So that after all, at least after eleven short pages, it seems, this grand design of the BRITISH INSTITUTION, formed by men of the highest rank, respectability, and influence, the approval of which by the King was a security that the superstructure would be both useful and ornamental, and that much might be confidently hoped from it, turns out to be a project from which very little can reasonably be expected. And in this opinion the author professes himself to be perfectly confirmed for in the preface to his recent publication he again observes, : "That to the interference of the state only, the eye of taste can "be now directed, either for the proper stimulus, or the adequate ❝ remuneration of genius; and that it is impossible to resist the "conviction, that unless government can be induced to shew some 66 sensibility towards their interests, the arts must, at no very dis, "tant period, be utterly extinguished amongst us." ELEM. Pref. p. xix. This then is the point to which all Mr. Shee's arguments tend; and it must be confessed, that it required no little dex 4 |