The Life, Studies, and Works of Benjamin West, Esq.

"Antonio Allegri da Correggio is the sixth source, whose emanating powers have illuminated the fine arts in the modern world. A superstitious mind, on seeing his works, would suppose that he had received his tuition in painting from the angels; as his figures seem to belong to another race of being than man, and to have something too celestial for the forms of earth to have presented to his view. Such have been the sayings of many on seeing his works at Parma, but, to my conception, he painted from the nature with which he was surrounded. His pictures of the Note, St. Gierolimo, and the St. George, are evident proofs of the observation. In the first of these pictures his mental conception shines supreme. It is the idea of illuminating the child in the subject of our Saviour's nativity. This splendid thought of giving light to the infant Christ, whose divine mission was to illuminate the human mind from Pagan darkness, no painter has since been so bold as to omit in any composition on the same subject. The two latter pictures have all the beauties seen in the paintings of this master, but they are deficient in appropriate character.

"The inspiring power of Correggio's works illuminated the genius of Parmegiano, the energetic movements of whose graceful figures have never been equalled, nor are they deficient in the moral influence of the art. His Moses breaking the tables in a church at Parma, and his picture of the vision of St. Gierolimo, now in England, are filled with the impress of his intellectual powers, and stand pre-eminent over all his works.

"I have thus taken a survey of the works of art, which stand supreme among the productions of Grecian and Italian genius, and which are the sources from which the subsequent schools have derived most of the principles of their celebrity.

"The papal vortex drew into it nearly all the various powers of human refinement, and the inspiring influence of the first school in art having centered in Rome gave it superiority, till the Constable Bourbon, by sacking that city, obliged the fine arts to fly from their place, like doves from the vultures: they never re-appeared at Rome but with secondary power.

"About a century subsequent to their flight from Rome they were re-animated, and formed the second school of art in Italy at the city of Bologna under the Carracci, at the head of which was Ludovico. He and his two relatives, Hanibal and Augustin Carracci, derived their principles from the Venetian School, from Titian, Paul Veronese, and Tintoret, and from the Lombard School of Correggio and Parmegiano. But the good sense of Ludovico raised by them and himself a school of their own, which excelled in the power of delineating the human figure, but which power gave to that school more academical taste than mental character.

"Their great work was that in the convent of St. Michael in Boresco, near Bologna; but this work has perished by damp, and the only remains on record of what it was, are in the coarse prints which were done from copies executed when it was in good condition. But grand as it must have been according to the evidence of these prints, it was but an academical composition.

"The picture by Ludovico, however, of our Saviour's Transfiguration on the Mount, consisting of six figures double the size of life, has embraced nearly all the points of art, and has placed the artist high in the first class of painters.

"The masters of the Bolognese school going to Rome and other parts of Italy, their successors at Bologna contented themselves by retailing the several manners of the three Carracci-Guido, Domenichino and Guercino. This system of retailing continued to descend from master to pupil, until the school of Bologna sunk into irrecoverable imbecility.

"The most esteemed work in painting by Augustine Carracci is the Communion of St. Jerom. It possesses grandeur of style, is bold in execution, and the faces are not deficient in the appropriate expression of sensibility towards the object before them. It was on the composition of this picture, that Domenichino formed his on the same subject, so much celebrated as to be considered next in merit to Raphael's Transfiguration. But fine as it is admitted to be, we must say, as a borrowed idea, it lessens the merit of the artist's originality of mind.

"The finest picture by Guido is in a church at Genoa, where he has brought to a focus all the force of his powers in grace and beauty, with an expression and execution of pencil rarely to be met with in art. The subject is the Assumption of the Virgin Mary. The angels, who surround the Virgin, have something in their faces so celestial, that they seem as if they had really descended from Heaven, and sat to the artist while he painted them. The Virgin herself seems to have had the same complacency. The characters of the Apostles' heads are so exquisitely drawn and painted, as to be without competition in the works of any other painter.

"The most esteemed picture by Guercino is is that of Santa Petranella, which he painted for St. Peter's Church, at Rome.

"But, Gentlemen, if you aspire to excellence in your profession, you must not rest your future studies on the excellence of any individual, however exalted his name or genius; but, like the industrious bee, survey the whole face of nature, and sip the sweets from every flower. When thus enriched, lay up your acquisitions for future use; and with that enrichment from Nature's inexhaustible source, examine the great works of art to animate your feelings, and to excite your emulation. When you are thus mentally enriched, and your hand practised to obey the powers of your will, you will then find your pencils, or your chisels, as magic wands, calling into view creations of your own, to adorn your name and your country.

"I cannot, however, close this Discourse, without acknowledging a debt due from this Academy, as well as that which is due to the Academy itself. Soon after His present Majesty had ascended the throne, his benign regard for the prosperity of the fine arts in these realms was manifested by his gracious commands to establish this favoured Institution.

"The heart of every artist, and of the friend of art, glowed with mutual congratulation to see a British King, for the first time, at the head of the fine arts. His Majesty nominated forty members guardians to his infant academy; and that they have been faithful to the trust which he graciously reposed in them, the several apartments under this roof sufficiently testify. The professors are highly endowed with accomplishments and scientific knowledge in the several branches to which they are respectively appointed; and the funds able to render relief to the indigent and decayed artists, their widows and children.

"Who can reflect for a moment on the rare advantages here held out for the instruction of youthful genius, and the aid given to the decayed, their widows and helpless offspring, without feeling the grateful emotions of the heart rise towards a patriot King, for giving to the arts this home within the walls of a stately mansion, and towards the members of this Academy, who, as his faithful guardians, have so ably fulfilled the purposes for which the Institution was formed.

"United to what the Academicians have done, and are doing, another honourable establishment, sanctioned by His Majesty for promoting the fine arts, has been created and composed of noblemen and gentlemen whose known zeal for the success of refined art is so conspicuous and honourable to themselves.

"Such have been the efforts to give splendour to the fine arts in this country, and such are the results which have attended these exertions; that knowing, as we do, the movements of the arts on the Continent, I may confidently say, that our annual exhibitions, both as to number and taste, engrafted on nature and the fruit of mental conception, are such that all the combined efforts in art on the continent of Europe in the same time have not been able to equal. To such attainments, were those in power but to bestow the crumbs from the national table to cherish the fine arts, we might pledge ourselves, that the genius of Britain would, in a few years, dispute the prize with the proudest periods of Grecian or Italian art. But, Gentlemen, let us not despair; we have heard from this place, the promise of patronage from the Prince Regent, the propitious light of a morning that will open into perfect day, invigorating the growth of all around-the assurance of a new era to the elevation of the fine arts, in the United Kingdom."

Chap. XIII

Mr. West's Visit to Paris. – His distinguished Reception by the Members of the French Government. – Anecdote of Mr. Fox. – Origin of the British Institution. – Anecdotes of Mr. Fox and Mr. Percival. – Anecdote of the King. – History of the Picture of Christ Healing the Sick. – Extraordinary Success attending the Exhibition of the Copy in America.

During the Peace of Amiens, Mr. West, like every other person who entertained any feeling of admiration for the fine arts, was desirous of seeing that magnificent assemblage of paintings and sculptures, which constituted the glory and the shame of Buonaparte's administration. He accordingly furnished himself with letters from Lord Hawkesbury, then Secretary of State, to Mr. Merry, the British representative at the consular court; and also with introductions from Monsieur Otto, the French minister in London, to the most distinguished members of his government.

On delivering Lord Hawkesbury's letters to Mr. Merry, that gentleman informed him that one of the French ministers had, the preceding evening, mentioned that Monsieur Otto had written in such terms respecting him, that he and his colleagues were resolved to pay him every mark of the most distinguished attention. Mr. Merry, therefore, advised Mr. West to call on the several ministers himself with the letters, and leave them with his card. As the object for which the Artist had procured these introductions was only to obtain, with more facility, access to the different galleries, he was rather embarrassed by this information; and would have declined delivering the letters altogether; but Mr. Merry said, that, as his arrival in Paris was already known to the government, he could not with any propriety avoid paying his respects to the ministers.

After delivering his letters and card accordingly, the hotel where he resided was, in the course of the week, visited by all the most distinguished of the French statesmen; and he had the honour of being invited to dine with them successively. At these parties, the conversation turned very much on the importance of the arts to all nations aspiring to fame and eminence; and he very soon perceived, that the vast collection of trophies which adorned the Louvre, had not been formed so much for ostentatious exhibition, as with a view to furnish models of study for artists; constituting, in fact, but the elementary part of a grand system of national decoration designed by Buonaparte, and by which he expected to leave such memorials to posterity as would convince the world that his magnificence was worthy of his military achievements.

It happened at this particular period, that the galleries of the Louvre were closed to the public for some time, but a deputation from the Central Administration of the Arts, under whose care the collections were particularly placed, waited on Mr. West, and informed him, that orders were given to admit him and his friends at all times. Denon was at the head of this deputation; and in the course of the conversation which then took place, that accomplished enthusiast explained to Mr. West more circumstantially the extensive views entertained by the French government with respect to the arts, mentioning several of the superb schemes which were formed by the First Consul for the decoration of the capital.

This information made a very deep impression on the mind of Mr. West, and he felt extremely sorrowful when he reflected, that hitherto the British government had done nothing decidedly with a view to promote the cultivation of those arts, which may justly be said to constitute the olive wreath on the brows of every great nation. Mr. Fox and Sir Francis Baring, who were at this same time in Paris, happened soon after the departure of Monsieur Denon to call, and they went with Mr. West to the Louvre, where, as they were walking in the gallery, he explained to them what he had heard. An interesting discussion took place in consequence; and Mr. West endeavoured to explain in what manner he considered the cultivation of the fine arts of the utmost importance even in a commercial point of view to England.

Mr. Fox paid great attention to what he said, and observed, in a tone of regret, "I have been rocked in the cradle of politics from my infancy, and never before was so much struck with the advantage, even in a political bearing, of the fine arts to the prosperity, as well as the renown, of a kingdom; and I do assure you, Mr. West, that if ever I have it in my power to influence our government to promote the arts, the conversation that we have had to-day shall not be forgotten." Sir Francis Baring also concurred in opinion, that it was really become an imperious duty, on the part of the British nation, to do something for a class of art that, undoubtedly, tended to improve the beauty, and multiply the variety of manufactures, independent of all monumental considerations.

When Mr. West had returned home, the subject was renewed with Sir Francis Baring; and he endeavoured to set on foot the formation of a society, which should have the encouragement of the line arts for its object, and thought that government might be induced to give it pecuniary assistance. Sir Thomas Barnard took up the idea with great zeal; and several meetings took place at Mr. West's house, at which Mr. Charles Long and Sir Abraham Hume were present, which terminated in the formation of that association that now constitutes the British Institution, in Pall Mall. Mr. Long undertook to confer with Mr. Pitt, who was then again in power, on the subject, and the proposal was received by him with much apparent sincerity. But a disastrous series of public events about the same time commenced: the attention of the Minister was absorbed in the immediate peril of the state; and he fell a victim to his anxieties, without having had it in his power to further the objects of the association.

At the death of his great rival, Mr. Fox came into office; and he soon after called on Mr. West, and, reminding him of the conversation in the gallery of the Louvre, said, "It is my earnest intention, as soon as I am firmly seated on the saddle, to redeem the promise that I then made." But he also was frustrated in his intentions, and fell a sacrifice to disease, without being able to take any step in the business. In the mean time, the Shaksperian Gallery was offered for sale; and the gentlemen interested in this project raised a sum of money, by subscription, and purchased that building with the intention of making it the approach to a proposed national gallery.

From Mr. Percival the scheme met with a far different reception. He listened to the representations which Mr. West made to him with a repressive coldness, it might almost be said with indifference, had it not been marked with a decided feeling; for he seemed to consider the whole objects of the British Institution, and the reasons adduced in support of the claims which the interests of the arts had on government, as the visionary purposes of vain enthusiasts. It was not within the small compass of that respectable individual's capacity to consider any generous maxim as founded in what he deemed wisdom, or to comprehend, that the welfare of nations could be promoted by any other means than precedents of office, decisions of courts, and Acts of Parliament. An incident, however, occurred, which induced him to change his opinion of the utility of the fine arts.

At the anniversary dinner, in 1812, before the opening of the Academy, he was present, with other public characters. On the right hand of the President was seated the Lord Chancellor Eldon, on his left Lord Liverpool, and on the right of the Chancellor Mr. Percival. A conversation took place, naturally inspired by the circumstances of the meeting, in which Mr. West recapitulated what he had formerly so often urged; and Mr. Percival, perceiving the impression which his observations made on those to whom they were particularly addressed, requested him to put his ideas on the subject in writing, and he would lay it before the Prince Regent. This took place on Saturday; on Wednesday Mr. West delivered his memorial; on the Friday following Mr. Percival was assassinated; and since that time nothing farther has been done in the business.

It is perhaps necessary to notice here, that when it was first proposed to the King to sanction the establishment of the British Institution with his patronage, he made some objection, conceiving that it was likely to interfere with the Royal Academy, which he justly considered with the partiality of a parent. But on Mr. West explaining to him that the two institutions were very different in their objects, the Academy being formed for the instruction of pupils, and the other for the encouragement of artists arrived at maturity in their profession, His Majesty readily consented to receive the deputation of the association appointed to wait on him in form to solicit his patronage. Except, however, the honour of the King's name, the British Institution, formed expressly for the improvement of the public taste with a view to the encouragement of the arts, has received neither aid nor countenance as yet from the state.

Before concluding this summary account of the origin and establishment of the British Institution, it may be expected of me to take some notice of the circumstances connected with the purchase and exhibition of Mr. West's picture of Christ Healing the Sick in the Temple; an event which formed an era in the history of the arts in Britain, and contributed in no small degree to promote the interests of the Institution. Perhaps the exhibition of no work of art ever attracted so much attention, or was attended with so much pecuniary advantage to the proprietors; independent of which, the history of the picture is itself interesting.

Some years before, a number of gentlemen, of the society of Quakers in Philadelphia, set on foot a subscription for the purpose of erecting an hospital for the sick poor in that city. Among others to whom they applied for contributions in this country, they addressed themselves to Mr. West. He informed them, however, that his circumstances did not permit him to give so liberal a sum as he could wish, but that if they would provide a proper place in the building, he would paint a picture for it as his subscription, which perhaps would prove of more advantage than all the money he could afford to bestow, and with this intention he began the Christ Healing the Sick. While the work was going forward, it attracted a great deal of notice in his rooms, and finally had the effect of inducing the association of the British Institution to make him an offer of three thousand guineas for the picture. Mr. West accepted the offer, but on condition that he should be at liberty to make a copy for the hospital at Philadelphia, and to introduce into the copy such alterations and improvements as he might think fit. This copy he also executed, and the success which attended the exhibition of it in America was so extraordinary, that the proceeds have enabled the committee of the hospital to enlarge the building for the reception of no less than thirty additional patients.

Chap. XIV

Reflections. – Offer of Knighthood. – Mr. Wyatt chosen President of the Academy. – Restoration of Mr. West to the Chair. – Proceedings respecting the Pictures for Windsor Castle. – Mr. West's Letter to the King. – Orders to proceed with the Pictures. – The King's Illness. – Mr. West's Allowance cut off, – and the Pictures countermanded. – Death of Mrs. West. – Death of the Artist.

Hitherto it has been my pleasant task to record the series of prosperous incidents by which Mr. West was raised to the highest honours of his profession; and had he survived the publication of this volume, I should have closed the narrative with the last chapter. But his death, which took place after the proof was sent to me for his inspection, has removed an obligation which I had promised to respect during his life, while it was understood between us that the circumstances to which it related were to be carefully preserved for a posthumous publication. The topics are painful, and calculated to afford a far different view of human nature from that which I have ever desired to contemplate: I do not allude to those things, connected with political matters, in which Mr. West was only by accident a witness, but of transactions which personally affected himself.

During the time that he was engaged in the series of great pictures for Windsor Castle, he enjoyed, as I have already mentioned, an easy and confidential intercourse with the King, and I ought, perhaps, to have stated earlier, that when he was chosen President of the Royal Academy, the late Duke of Gloucester called on him, and mentioned that His Majesty was desirous to know if the honour of knighthood would be acceptable. Mr. West immediately replied, that no man had a greater respect for political honours and distinctions than himself, but that he really thought he had already earned by his pencil more eminence than could be conferred on him by that rank. "The chief value," said he, "of titles are, that they serve to preserve in families a respect for those principles by which such distinctions were originally obtained. But simple knighthood, to a man who is at least already as well known as he could ever hope to be from that honour, is not a legitimate object of ambition. To myself, then, Your Royal Highness must perceive the title could add no dignity, and as it would perish with myself, it could add none to my family. But were I possessed of a fortune, independent of my profession, sufficient to enable my posterity to maintain the rank, I think that with my hereditary descent, and the station I occupy among artists, a more permanent title than that of knighthood might become a desirable object. As it is, however, that cannot be, and I have been thus explicit with Your Royal Highness that no misconception may exist on the subject." The Duke was not only pleased with the answer, but took Mr. West cordially by both the hands, and said, "You have justified the opinion which the King has of you, and His Majesty will be delighted with your answer;" and when Mr. West next saw the King his reception was unusually warm and friendly.

But notwithstanding all these enviable circumstances, Mr. West was doomed to share some of the consequences which naturally attach to all persons in immediate connection with the great. After his return from Paris, it was alleged, that the honourable reception which he allowed himself to receive from the French statesmen had offended the King. The result of this was the temporary elevation of the late Mr. Wyatt to the President's chair, merely, as I think, because that gentleman was then the royal architect; for it would be difficult to point out the merits which, as an artist, entitled him to that honour. But the election, so far from giving satisfaction in the quarter where it was expected to be the most acceptable, only excited displeasure; and Mr. West was, in due time, restored to his proper seat in the Academy.

This, as a public affair, attracted a good deal of notice at the time; but it was, in its effects, of far less consequence to Mr. West than a private occurrence, originating in circumstances that tend to throw a light on some of the proceedings that were deemed expedient to be adopted during the occasional eclipses of the King's understanding.

For upwards of twenty years Mr. West had received all his orders from the King in person: the prices of the pictures which he painted were adjusted with His Majesty; and the whole embellishment of Windsor Castle, in what related to the scriptural and historical pictures, was concerted between them, without the interference of any third party. But, in the summer of 1801, when the Court was at Weymouth, Mr. Wyatt called on Mr. West, and said, that he was requested by authority to inform him, that the pictures painting for His Majesty's chapel at Windsor should be suspended till further orders.