Page images
PDF
EPUB

from all foreign matter, discharging the ink, and rendering it again fit to receive new impressions; the methods which have been devised for multiplying copies of prints and manuscripts with ease, expedition, and cheapness; the various plans for cutting and casting Nails, instead of the old and tedious method of forming them on the anvil; beside a multitude of others, scarcely, if at all less important, which time would fail to enumerate.

Finally, the effects of the various improvements which have been introduced into every department of the mechanic arts, during the last age, in promoting the conveniency, cheapness, and elegance of living, will readily occur to the most careless observer. No one will say that it indicates undue partiality to our own times to assert, that at no period of the world was the art of living, especially the comforts and conveniences of domestic life, ever on so advantageous a footing as at present. Ancient writers, indeed, have given highly coloured pictures of the magnificence and sensuality which reigned at different times in Greece and Rome; and in more modern days we read many descriptions of luxury which superficial thinkers would suppose to indicate much greater plenty, comfort, and splendour, than are now commonly enjoyed. But they are, for the most part, descriptions of plenty without taste, and of luxury without enjoyment. When we compare the ancient modes of living with the dress*, the furniture, the equipage, the conveniences of travelling, and the

* When the author speaks of the superiority of modern dress to the ancient, he wishes to be understood not as asserting that it is superior in its form: this hé is persuaded would not be in all

incomparably greater ease with which the same amount of comfortable accommodation may be obtained at present, none can hesitate to give a decided preference, in all these respects, to modern times. Perhaps it would not be extravagant to say that many of the higher orders of mechanics and day labourers now wear better clothes, and live, not more plentifully, but in some respects more conveniently, more neatly, and with more true taste, than many princes and kings were in the habit of doing two centuries ago, and in a manner quite as pleasant as multitudes of a rank far superior to themselves, at a later period. In short, the remarkable and unprece dented union of neatness and simplicity, cheapness and elegance, which has been exhibited in the art of living, within the last thirty or forty years, is, at once, a testimony of the rapid improvement of the mechanic arts, and one of the most unquestionable points in which we may claim a superiority over our predecessors.

respects true: the full and flowing garments of the Greeks were, probably, more healthful, as well as more graceful; but in the texture, conveniency, and cheapness of dress, it is presumed later fashions have greatly the advantage.

126

CHAPTER X.

FINE ARTS.

ON the state of the fine arts, during the eighteenth century, it is not easy to speak in general terms. Were any remark of this kind to be made, it ought probably to be, that in this department of genius the last age fell considerably below some preceding centuries. In all the branches of art, indeed, which come under this denomination, the period which we are considering had its luminaries; but they were only in a few instances of the first magnitude. For this comparative deficiency some at least plausible reasons may be assigned.

It has been said that though an art, in its progress toward perfection, is greatly promoted by emulation; yet, after arriving at maturity, its decline is no less hastened by the same spirit. On this principle it has been supposed that the great works of the ancient masters, presenting to modern artists so high a degree of excellence, either discouraged all competition, or prompted those who would not submit to be humble imitators to attempt something new, which, in most cases, proved to be degeneracy rather than improvement.

Much greater pains have been taken, during the last age, to form many, by laborious instruction, to practise the fine arts, than to encourage and honour those who possessed native genius. Hence the number of smatterers in the arts, during this period, has risen to an unprecedented

amount. These have all subtracted more or less of the patronage which would otherwise have been directed to the most deserving; and thus, by obvious means, robbed the latter of no small share both of fame and excellence.

But if the eighteenth century were less distinguished than some preceding ages for producing specimens of first-rate excellence in the fine arts, it may safely be pronounced to exceed most other periods in forming numerous, large, and splendid collections of specimens of this kind. The monuments of human genius, especially in painting and sculpture, collected and displayed in the city of Paris at the close of the century, were undoubtedly more numerous and magnificent than had been exhibited in one place for many ages *. Next to these the collections of a similar kind in Germany, Petersburg, and Great Britain, are entitled to high distinction for their extent and excellence.

In several of the departments of the fine arts there are a few names and improvements which distinguish the eighteenth century, and which deserve to be noticed in this retrospect f.

* The violation committed on the treasures of the fine arts in Italy, in the course of the late war, under the sanction of the French government, while it certainly cannot be justified on the principles of national probity and honour, may, perhaps, have an unfavourable influence on the progress of the arts in France.

† Several of the facts and names mentioned in this chapter were communicated to the author by Mr. John R. Murray, of the city of New York, a young gentleman of extensive information, and excellent taste in the fine arts, who has just returned to his native country, after making the tour of Europe, where he viewed the noble collections which that part of the world affords, with a

[ocr errors]

SECTION I.

PAINTING.

In this noble art the century under consideration is honourably distinguished. From the middle of the seventeenth century, till toward the middle of the eighteenth, scarcely any painters of first-rate excellence had appeared. The mantles of those great masters, Rubens, Vandyke, Guido, and other contemporary artists, seem not to have fallen upon any of their immediate successors. At the commencement of the century Kneller, Dahl, Richardson, Jervas, and Thornhill, of Great Britain, were conspicuous in their respective departments of painting; as were also Cignani, Giordano, Maratti, Jauvenet, and many others on the continent of Europe. But these artists, though unquestionably of the first class then known, were inferior, particularly the former group, to many who had gone before them, and by no means equal to some of their successors.

Though the eighteenth century produced fewer painters of great and original genius than several preceding ages, yet it is remarkable for having given birth to an unprecedented number, who, with a moderate portion of genius, and with great industry, have risen to high respectability in this art. There was, no doubt, more painting performed by artists of this period, than during any former one of similar extent since the art was cultivated. The

degree of intelligence and accuracy of observation by no means common among travellers.

« PreviousContinue »