1800. | 
digested poe every, where circulated 
respecting those two arts, when com- 
pared with that whieh is formed of others, 
included in the usual course of public 
education. 
Poetry, it may be observed, is so well 
understood, that it’s just degrees are rea- 
dily ascertained, and appropriate praise 
is bestowed on every production of 
merit, that isstes from the press. We 
know how to fix the just devree of 
Cowper, of Cumberland, of Rogers, of 
Walter Scott, and of Hayley; and al- 
though we do not boast an age surpas- 
sing ‘all other epochs of poetry,we should 
hear with indignation that every puny 
wit of France, or rhymer of Italy, was 
indisputably superior to the poets just 
mentioned. 
In painting, precisely the reverse hap- 
pens in all points. We declare that 
painting is now at the highest point of 
general advancement, to which it has 
ever arrived in England, (and I believe 
we declare it with truth); but if you are 
bold enough, dare to mention an indi- 
vidual living painter, who is to be com- 
pared with an accredited master of a 
foreign school! And, in sculpture, was 
not lately the supposed superiority of a 
modern artist of Yenice—but a truce to 
retort on that subject. It is not the le- 
gitimate purpose of enquiry to stir up 
hostilesensations. Forvunately, the ami- 
able genius of Canova preserved the 
honour of our University: with the can- 
dour and temperate judgment, which no 
less than his professional abilities, adorn 
the first sculptor of his country; he de- 
clined the splendid task proposed to him, 
and with it (if report be true) the addi- 
tional offer of three hundred pounds per 
annum, annexed as a condition of ‘his 
residing amongst us, contented with the 
patronage of his own powerful Mecenas. 
_Much has been said, and is daily said, 
in the general circles of conversation, 
of the great encouragement now-a-days 
given to the arts; and while the dispo- 
sition of such as ‘continue to speak in 
this manner, seems so favourably bent to 
believe and hope, they know not what, 
it may not be useless to them to inquire, 
of what kind is ‘this encouragement? 
What has been stated in relation to the 
highest actual example of public patro- 
nage, will in a great measure answer the 
question, An institution, founded on 
the most generous intentions towards the 
arts, directs its laudable efforts to the 
patronage and remuneration of younger 
students, and of less aspiring, or less 
The Enquirer.—No. XXVIT. 
323 
affluent practitioners, who choose toenter 
the lists of the establishment. To such - 
alone its benefits can be extended ; for as 
to any great work of an artist of settled 
eminence, it hitherto appears to be a 
pot wholly beyond the scope of the 
Tustitution: a cabinet picture, an en- 
amel, or a flower-piece, 13 eagerly seized 
by some ready purchaser, while a Venus 
by Nollekens, or a Daniel in the Lions? 
Den, by Northcote, may go tothe gallery 
and return to their homes as freely, and 
with as little interruption, as the artists 
and the directors think fit. 
Beyond this scene of limited patro- 
nage, in what form does encouragement 
appear? When West, now the father 
of the English school, announced the 
completion of his classic work, of the 
Death of Nejson, and when it was known 
that it might be seen at his house, im- 
mense crouds of spectators instantly 
flocked thither, wo thronged his paint- 
ing-room, passages, door-ways, the very 
street in which his ‘house is situated, ia 
order to obtain a view of so interesting a 
public work. he crouds of. visitants 
continued for many weeks: it seemed 
impossible to satiate > just and general 
curiosity, and the picture was at “length 
removed to the engraver’s, 
Many, in this numerous assemblage, 
conceived, no doubt, that they were 
shewing encouragement to the art and 
the artist, by their presence; and, as 
far as the tribute of politeness, and the 
attention of curiosity denote encourage- 
ment, they certainly were so;. but is it 
not almost passing belief that, of all this 
extraordinary croud, no one individual 
should be found sufficiently. wealthy, or 
uficiently sensible of the merits by 
which he was attracted to the house, to 
become a candidate for the possession of 
a treasure capable of affording such ex- 
tensive delight? Yet this, if report may 
be trusted, is the case even to the pre 
sent moment; and a picture, the best 
record of one of the most deeply affect- 
ing, and most nationally important events 
_which our history eo: itains, would have 
been to this hour uncalled for, and would 
not have existed, if the professional are 
dour. of the painter and the engraver 
had been as inactive, as the public pa- 
tronage of established merit in the fine 
arts. 
‘Notwithstanding all the boast of Qe~ 
neral encouragement, the booksellers. 
and publishers. continue still to be th 
greatest patrons of historical painting ih 
England, The: days of Boydell, and 
Macklin, | 
