-1808.] 
Poetry. has, for a short period of years, 
and music for a much longer, been le- 
gally established amongst us with such 
appropriate honours as are every where 
‘acknowledged their due. The student 
of poetry receives the seeds of instruc- 
tion under the auspices of the state.’ le 
imbibes its precepts in the bosom of our 
universities, from the lips of learning and 
authority; he partly there too reaps its 
Aharvest in the prizes adjudged to youth- 
ful skill; and on his eminence in the 
wider scenes of life, besides the atten- 
tions of those who have been his fellow- 
‘students (and thence the open avenues 
of fame), heis not forgot by royal favour: 
the Loureat, chaunts his annual: strain, 
secure of his revenue, and mounts his 
Pegasus under the animating influence of 
a but of sack. | 
The musical Composer also invests 
himself with honours at our universities: 
he receives at their hands shat title of 
degree, which, gives him distinction 
‘through life. Nor can he be said to 
forego the more solid gratifications of 
pecumary reward, Indeed, in the pre- 
sent musical influence, he stands, among 
artists, the favourite of fortune. He is 
the only one who reaps a pecuniary emo- 
lument nearly equal to the gains of those 
for whom his talents contribute to pro- 
cure subsistence: the poet enriches his 
“booksellers, and sometimes partakes of a 
chi, share of the profits which his work 
produces, The musician enriches his 
bookseller likewise, and grows rich with 
him.* . 
_ Of the art of Oratory it is unnecessary 
to say any thing, because the path of 
' honours in which it treads, and the emi- 
nence of the situations to which it leads, 
are Obvivus to the notice of every Eng- 
lishman, 
Let us next see what is the condition 
of the Arts of Design. _ Having in some 
former papers. examined both the obsta- 
cles and the resources which attend the 
‘ultimate hopes of those arts in En- 
gland,” I propose at present, with the 
Same view to the promotion. of their 
general interest, to enquire what is the 
actual state of the public knowledge and 
Sentiments respecting them, as well as to 
offer some remarks on the methods 
pigpsed for their advancement. 
_, The Sculptor, in the present moment, 
* Tha mosical composer fortunately unite 
his talents with a dramatic writer, he receives 
for the sale of his music, from the music- 
seller, about five times as much money as the 
or, whose language he adopts, can obtain 
__ from the manager and bookseller together. 
ra 
The Enguirer.—No. XXVT. 
universally diflused, ang that the insuper- 
2 
437 
enjoys a considerable portion of the ge- 
neral favour of the state. Public and 
private monuments supply him with a 
copious provision for the wants of this 
life; and criticism, awed by the bulk of 
his undertakings, and, as yet, bashful 
from mere ignorance of the technical 
language of his art, has not begun to 
cover {rom his sight the keys of St. Peter, 
and shut him out from the prospects of 
immortality. 
But although he has few complaints to 
make of the want of pecuniary reward, 
he has many concerning the channel 
through which he derives it. Sculpture, 
in vur modern annals, presents great og- 
casions unfortunately marred by lesser 
circumstances. The state, and other 
public bodies, who are the employers of 
the sculptor, afford him ample support 
during the continuance of his labours, 
ample compensation for the exertion of 
his talents, but, according to the mode 
at present established for the inspection 
and controul of his works, they leave 
him little or no power over his own fame. 
He receives permission to raise a monu- 
ment to the glory of those heroes, whose 
valour has defended, or whose blood pre- 
served his country, but he is not left to 
judge in what manner his monument is 
most likely to answer that desirable pur- 
pose. He is in this latter point sub- 
jected toa committee, in whose members 
no acquaintarice with the rules of sculp- 
ture is required, who of course judge from 
feeling instead of knowledge, and mistake 
their own scale of perception, for the 
scaie of art. These are circumstances — 
disastrous to English sculpture, and pré- 
ventive of the honours our country might 
otherwise justly hope to attain: that 
genius is often in want of safe guidance, 
will be readily acknowledged by ever 
oné; but its guide must be art, not ‘- 
norance. : 
The Painter begins to respire from the 
oppressive weight of obloquy and a 
lect, under which he so long laboured, 
at first, from the influence of supersti- 
tious prejudice, and, since, from that of 
mistaken pride and affectation. An as- 
sociation of men of rank, erudition, 
judgment, and conspicuous talents has 
at length stood forward as thé defender 
and patron of a calisé so unjustly calum- 
niated or slighted; and, although there 
‘are many who still refuse to accede to 
the creed of thé new school, as it is con- 
temptuously called, there is great reasoh 
to hope that the. patriotic spirit may in 
time be effectually roused, its influence 
able 
