ARTS, MANUFACTURING. 



ARUNDEL MARBLES. 



the mental pleasure produced are greatest, and in which the manual 

 labour, or labour of whatever kind, is least apparent. This test would 

 justly place poetry first ; but the criterion should not be incautiously 

 applied ; for in architecture, where human ingenuity is most apparent, 

 and even where the design is very simple, a powerful impression on 

 the imagination may be excited from magnitude, proportion, or other 

 causes. In such cases, however, it will still be evident that we lose 

 sight of the laborious means in the absorbing impression of the effect, 

 .and the art thus regains its dignity. It would be an invidious as well 

 as a very difficult task to assign the precise order in which painting, 

 sculpture, architecture, and music, would follow poetry ; but it may 

 be remarked, that the union of the arts is a hazardous experiment, and 

 is often destructive of their effect. This is most observable in the 

 attempts to combine the principles of sculpture and painting. The 

 union of sculpture with architecture may seem an exception, but 

 sculpture so employed becomes subordinate to the sister art and a 

 means of expressing more emphatically the idea of the edifice. The 

 drama itself, which unites poetry with many characteristics of the 

 formative arts, and with music, is in constant danger of violating the 

 first principles of style, viz., the consistency of its conventions ; and 

 in the more intimate union of poetry and music, the latter, though the 

 inferior art, is too independent and too attractive to be a mere vehicle, 

 and accordingly usurps the first place. The true principle seems to be 

 that the arts in their higher manifestations must be kept apart ; or one 

 must be entirely subordinated and made subsidiary to the other. 



All the fine arta it will be seen have something in common. Art is 

 a means of rendering cognisable by the senses an idea or conception 

 which has been formed in the mind of the artist. [^ESTHETICS.] Art 

 therefore is creative. A true work of art is a representation, not an 

 imitation. Every such work is individual ; owes its special value to 

 the thought, or to the mental idiosyncrasy, of the artist, and makes 

 its appeal to the imagination and the judgment to the emotional and 

 the critical faculties. But whilst there is a consonance in the funda- 

 mental idea of all the fine arts, each has its own technical medium, and 

 special conventions, and each therefore has, as we have said, its own 

 distinctive and specific style. 



The history and the principles, the specific style and the technics, 

 of the several arta will be found treated of under their respective 

 heads, or the references there given. 



ARTS, MANUFACTURING. As the fine arts are destined to the 

 production of objects beautiful rather than useful ; so do the manu- 

 facturing arts produce results useful rather than beautiful. But in all 

 the later stages of society, these two divisions have tended to coalesce 

 into one : the useful and the beautiful, the utilt et dulce, being found 

 reciprocally to lend strength to each other. The union of Science with 

 the Arta is becoming, in our own day, more and more apparent. 



The establishment of Art-Manufactures, in which sculptors and 

 painters of eminence are employed to design models and patterns for 

 manufacturers ; the formation of schools of design, where drawing and 

 modelling with an especial relation to manufactures are taught ; the 

 still more recent establishment of artizan schools, where similar 

 instruction is given under different arrangement* all point to a union 

 between fine art and manufacturing art ; while mechanics' institutions, 

 lyceumn, popular treatises on Science so far as they have realised the 

 anticipations concerning them indicate a union between Science and 

 Manufactures. Again, such discoveries as those relating to Photo- 

 graphy, Electography, &c., lead to a union between science and fine 

 art. Thus do all three Science, Art, and Industry stand in intimate 

 relation one to another. 



One of the most remarkable existing collections of specimens in art 

 and manufacture is the Conservatoire dea Arts et Metiers, at Paris. This 

 noble institution was the virtual carrying out of a suggestion made by 

 J Jescartes a century and a half ago namely, to build a series of large halls, 

 each to contain all the implements necessary to some one trade or depart- 

 ment of industry, and to attach to each department a lecturer for the 

 instruction of the people. The institution, which has existed more than 

 sixty years, is supported by a grant of 150,000 francs per annum from 

 the French government. The contents are extensive and well arranged. 

 In one hall or apartment are ancient and mediaeval tools, machines, and 

 models ; in a second, acoustic instruments of various kinds ; in a third, 

 mirrors, and other kinds of optical instruments; in a fourth, porcelain 

 and pottery ware of very choice kinds ; in a fifth, articles in Venetian 

 and other glass ; in a sixth, chemical and electrical apparatus, old and 

 new. Arranged in other parts of the building are halls and galleries 

 filled with specimens of watch and clock making ; drawings and models 

 to illustrate descriptive geometry and the arts of construction ; printing 

 types, of every size and nation ; models of steam engines and other 

 prime movers of machinery ; weights and measures of all ages and 

 nations ; weaving and knitting machines ; the apparatus used in the 

 manufacture of the ajuiynatii the bank notes so famous during the 

 early days of the French revolution ; agricultural implements, and 

 models of farm buildings ; Ac. An ancient chapel has been converted 

 <nto a lecture and reading room ; with the ceiling, walls, floor, and 

 fittings decorated to illustrate ornamental art, and shelves filled with a 

 well-selected library of books in arts and sciences. One of the most 

 interesting halls in filled with objects purchased by the French Govern- 

 ment at the Great Exhibition of 1851, in Hyde Park. In most of 

 these halls and galleries, frequent lectures are given to the working 



ARTS ASD SCI. DIV. VOL. I. 



men of Paris. Somewhat similar, but at present less complete, is the 

 Museum of the Department of Science and Art at South Kensington. 



The exhibition of art-manufactures at Edinburgh in 1857, and 

 portions of the magnificent Art-Treasures Exhibition at Manchester 

 in the same year, were examples of a kind of public display much 

 adopted lately gradually educating a taste for art among purchasers 

 and producers. 



The British Government have annually applied, from the year 1836 

 to 1859, to parliament, for a grant or grants in furtherance of the 

 cause of education in matters of fine art, manufactures, mining, and 

 science. The systems adopted have been curiously varied, and not 

 always well directed ; yet the results have been important not so 

 much in training up able artists and workmen, as in awakening general 

 attention (partly by public exhibitious, some permanent and some 

 periodical) to the necessity for culture as a forerunner of skill. Some 

 of these government proceedings will be noticed under SCIENCE AND 

 ART, DEPARTMKNT OF, and the articles there referred to. 



ARUNDEL MARBLES, certain pieces of sculpture, consisting of 

 ancient statues, busts, mutilated figures, altars, inscriptions, &c., the 

 remains of a more extensive collection, formed in the early part of the 

 17th century by Thomas Howard, Earl of Arundel and Norfolk, and 

 presented, at the suggestion of John Evelyn, in 1667, to the University 

 of Oxford, by Mr. Henry Howard (afterwards Duke of Norfolk), the 

 Earl of Arundel's grandson. 



Thomas Howard, Earl of Arundel and Surrey, the founder of this 

 collection, was the only son of Philip, first Earl of Arundel of his 

 family, by Anne, sister ani co-heir of Thomas, the last Lord Dacre of 

 Gillesland. He was born in 1586, and in 1603 he was restored iu 

 blood by act of parliament, and to such honours as he had lost by his 

 father's attainder, as well as to the earldom of Surrey, and to most of 

 the baronies which had been forfeited by the attainder of his grand- 

 father, Thomas, fourth Duke of Norfolk. The dukedom itself was 

 detained from him. In 1607 he was made a privy-councillor, and in 

 the same year went to Italy, where (with the exception of a brief 

 interval in which he returned to England) he remained till 1614. It 

 was during his residence in Italy that he commenced the formation of 

 his remarkable collection of works of art. After his return to England, 

 he was made, in 1621, Earl Marshal, and subsequently he was created 

 Lord High Steward, in which capacity he presided at the trial of the 

 Karl uf Strafford. In 1633 he was sent as ambassador to the Queen of 

 Bohemia and the States General ; and in 1636 ambassador extraordi- 

 nary to the Emperor Ferdinand II. He was created Earl of Norfolk 

 in 1644, and soon afterwards left England. He died at Padua October 

 4, 1646. 



When Lord Arundel determined to collect a gallery of statuary, he 

 retained two men of letters for that purpose. The well-known John 

 Evelyn was sent to Rome, and Mr. (afterwards Sir William) Petty 

 undertook a hazardous journey to the Greek islands and the Morea. 

 In the islands of Pares and Delos, Petty 's indefatigable researches had 

 been rewarded with ample success, when, on his voyage to Smyrna, he 

 was shipwrecked on the coast of Asia opposite Sainos, and escaped 

 only with his life. At Smyrna he acquired many marbles of great 

 value, particularly the celebrated Parian Chronicle. Still the jealousy 

 "of Villiers was active in interrupting Lord Aruudel'a pursuit, and the 

 delight of his retired hours. Sir Thomas Roe, then ambassador at the 

 Porte, is generally said to have been instrumental (at the suggestion of 

 Villiers) in thwarting Petty 's proceedings. But it appears from the 

 ("iivspondence of Roe with the Earl, printed in Appendix B, of Mr. 

 Sainsbury's recently published ' Original Papers Illustrative of the Lifu 

 of Sir Peter Paul Rubens,' that he really assisted Petty as far as he 

 could do so without incurring the displeasure of the minister. Of 

 Petty, Roe writes to the Earl, ' There never was man so fitted to an 

 employment, that encounters all accidents with so unwearied patience ; 

 eats with the Greeks on their worst days ; lies with fishermen on 

 planks at the best; is all things to all men, that he may obtain his 

 ends, which are your lordship's service." The earl was unquestionably 

 fortunate in procuring the service of such men as Evelyn and Petty, 

 but he also found other zealous assistants in his undertaking. From 

 Mr. Sainsbury we learn that Sir Dudley Carleton, the minister at the 

 Hague, himself a judge of works of art far superior to most educated 

 Englishmen of his time, and a diligent collector, was one of the first to 

 contribute to the Earl of Aruudel'a collection ; and that, besides Sir 

 Thomas Roe, " Sir Isaac Wake at Turin, Sir Balthasar Gerbier at 

 Brussels, Sir Francis Cottington and Lord Aston at Madrid, were 

 ambassadors from England, severally written to, and urgently requested 

 to assist him, and give their countenance and support to his several 

 agents in the collection of matters of art " (p. 269). 



Lord Arundel having assembled in his gallery his various acquisitions 

 from Greece and the Continent, adopted the following arrangement of 

 his marbles : the statues and busts were placed in the gallery ; the 

 inscribed marbles were inserted into the wall of the garden of Arundel 

 House ; and the inferior and mutilated statues decorated the garden 

 itself. We learn from catalogues, that the Arundelian collection, when 

 entire, contained 37 statues, 128 busts, and 250 inscribed marbles, 

 exclusive of sarcophagi, altars, and fragments, and the inestimable 

 gems, which included the " very rich collection, as well of medals as 

 other intaglios, belonging to the cabinet he purchased of Daniel Nys 

 (of Venice), at the cost of ten thousand pounds." (Evelyn, 'Diary.') 



QQ 



