THE CREST OF THE CHARTERED COLLEGE. 
231 
to be the embodiment of a poetic idea. Simply regarded as an 
ornament, it therefore would be esteemed, but received in connexion 
with the object of its creation, it has an interest and a value inde- 
pendent of its merit as a work of art. The execution is very free, 
and represents rather a spirited sketch than a laboured model. 
The vigour of the conception, far more than the pains of the artist, 
is felt by the spectator. Saying this, however, we do not mean 
that the work has in any degree been slighted. On the contrary, 
we are of opinion the idea has been judiciously embodied, and 
carried out to that point which leaves the intention more conspicuous 
than the mechanical skill of the modeller. 
The image stands about two feet nine inches in height, measur- 
ing from the head of the centaur to the bottom of the plinth. The 
compound animal is exhibited rearing into the air. To gain strength, 
no tree or rock has been introduced, but the body is supported by the 
hind legs and tail, which last is represented as touching the earth. 
Without detracting from the effect of the prancing attitude of the 
horse, sufficient substance has thus been obtained to uphold the 
weight. Grace and lightness are thus gained, while the notion of 
solidity is also conveyed. Further advantage, likewise, springs from 
this mode of treatment. The hind-parts have been made to balance 
the forward mass. The whole has been rendered harmonious by 
that sense of proportion which has by a trivial licence been in- 
troduced. 
More masterly, however, is the manner in which the body of the 
man has been made to blend with that of the beast. Fabulous 
though the idea may be, Mr. Bailey has so represented it as to 
make the union appear possible. The two creatures seem one 
animal. The shoulders of the horse by a little play have been 
made to personate the groin of the human being, the lower portion 
of whose spine leads easily into the line of the animal’s withers. In 
action, also, the unity is perfect. The man is not the rider merely, 
aiding the leap or studying to maintain his seat. Leaning back, 
to throw the weight more under the centre of gravity, he seems 
to share the act, and by the confidence of his expression denotes 
his will called forth the motion. 
We like this figure much. There is in it no sacrifice to pretti- 
ness. In its proportions it is large, and its beauty, in our opinion, is 
the greater, because its aspect is even somewhat rude. On that very 
account we esteem it to be more perfect. The fable of the Centaur 
is of barbarous origin ; and here the man appears a creature ordained 
to rule, but unsoftened by refinement. The horse is not the ad- 
mired of the stable. It does not display the points which con- 
stitute the delight of modern breeders. The offspring of the wild — 
joying in its power and vigorous in its freedom — it careers like life 
