nounced inferior to it in intellectual power and enterprise, as well as in invention. It may be, however, that the preservation of what our ancestors have upraised, is the utmost that we can effect. In many cases, even this appears to be a task too great for modern degeneracy; and too often, both in this country and on the Continent, modern cupidity demands the destruction of these venerable relics, merely to make room for replacing them by buildings for gain or commerce.

Restoration appears, indeed, not only to be the special avocation of the present age, but that for which its capacities are peculiarly adapted. Lacking the particular intellectual qualifications requisite for designing original works, we do possess all the mechanical skill and knowledge of the past which are essential to render perfect any performances in the restorative process. In architecture not only all our restorations, but all our original efforts, are but attempts to copy, with very slight and trivial variations, the models produced in periods preceding our own. And in painting and sculpture, too, this is more or less the case with most of our artists. Copying and restoration seem, moreover, to go very suitably hand-in-hand together, and are both especially adapted to the present age. Possibly therefore, as regards works of art, these humble efforts are the utmost and the best which we of this age are likely to effect. If so, we must be content to live upon the past, and to preserve to our posterity what has been transmitted to us from preceding periods, instead of aiming at the more ambitious task of creating anew for those who are to come after us.

In the case of sculptural and architectural works, the copies. made of them through the aid of photography are the most perfect that can be produced, colour here not being requisite, and far exceeding in accuracy the most exquisite casts, as I have particularly remarked with regard to the photographs of the 'Apollo' and 'Laocoon' which I have seen at Rome. In the case of photographs, however, as in that of paintings, the representation affords a view of the object from one point only, and is so far allied rather to painting than either to sculpture or architecture, being, in fact, a sort of hybrid production between the two.

ESTABLISHMENT OF A BRITISH SCHOOL OF ART.

265

In the original construction of architectural edifices of an important character, we should always bear in mind that we are labouring not only for our contemporaries, but for our posterity also. Those who have gone before us have bequeathed to us liberally costly treasures of art, and we reap all the benefit of their experience. Whatever we give to posterity is but an instalment of the debt we owe to those whose posterity we are.

Poetry and eloquence may, in certain respects, be deemed to be more engrafted in this country than are painting sculpture and architecture, inasmuch as, in the first place, these arts sprang up here as indigenous to the soil, without any aid from other countries; and in the next place, they have been from time immemorial constantly followed, although nothing in the shape of a distinct school has ever been established; while the isolated productions of eminent merit which have occasionally appeared, have served to characterize the efforts of these arts among us.

The drama and the art of music have, to the extent already mentioned, been long established in England, although in the latter of these arts we can hardly boast of a distinct school, so few original compositions of leading merit having been originated in this country, and such extensive resort having been made to the artists of other lands for their compositions.

Costume as a separate art has never been engrafted, nor even recognized here. Nor have we in this country, as in several of those on the Continent, and as was extensively the case in the Middle Ages, anything that may be called a national costume, the picturesque development of which among some people, is of itself sufficient to exalt it to the rank of an art, and evinces how capable it is of having applied to it all the principles of artistical regulation.

Gardening, as an art, may be said to be thoroughly engrafted among us; and although we can boast of no distinct school of this art, yet the style of English gardening and pleasuregrounds is peculiarly distinctive in itself, is borrowed from no other people, and is superior to any other in accomplishing the fullest development of nature, with the smallest degree of restraint on her own efforts.

IX. If, therefore, as I contend that we are entitled to do, we may judge from the eminence which in the arts of poetry and eloquence we have attained, that we are not deficient in intellectual power to enable us to rival the most celebrated performances of the ancients in either art; and if, as I have lately observed, in mechanical execution of works of art we are not even now deficient; there is in reality no reason to suppose that when the obstacles which at present retard our progress are removed, we may in every respect, and in the highest and most noble of their characteristics, rival the schools of old, and produce artists whose compositions in the epic style shall be deemed worthy, not only of being placed beside those of Phidias and Raphael and Michael Angelo, but which, in many respects, shall be deemed superior to them; as although we doubtless labour under disadvantages by which they were not incumbered, we have also advantages of the highest order of which they were destitute.

The Greeks at one period of the progress of art among them, were as wanting in the principles, in knowledge of, and in genius for art, as any of the modern nations have ever been; and the influences which affected and elevated them, are equally capable of operation among us.

Not only have the productions of our poets and eloquent writers afforded evidence that there is no national incompetency for works of art, but occasionally, even in painting, efforts have been put forth which yield incontrovertible proof that there is in reality no lack of artistical talent among us, and that we need only proper opportunities to bring it out. The gold is genuine, but it requires to be raised from the mine. Genius may exist, but it will not develope itself unless a favourable period arrives for doing so. The ground may be full of seeds, but they will fail to spring up until the winter has passed over, and the genial rays of summer have given them vitality.

The causes which I have pointed out, are, I think, quite sufficient to account for our present deficiency, as I am also convinced that the possibility of our being able to afford an entire and all-sufficient remedy for this deficiency is beyond a doubt.

ADAPTATION OF ART TO SPIRIT OF AGE.

267

In poetry and eloquence we have, moreover, had the great disadvantages to contend with of a language far less harmonious and melodious than that of either Greece or Rome; and yet with materials so unfavourable, we have rivalled the poets and orators of both these nations, and in those very qualities, too, for which our native tongue seemed least adapted. As regards painting and sculpture, we possess not only all the mechanical skill and knowledge with which the ancients were endowed; but the numerous modern scientific discoveries which have been achieved since their day, afford us very great advantages over them in every particular as regards the manual operations connected with art.

The English language, although uncouth and inharmonious, and apparently ill adapted as a medium for poetical or oratorical use, is yet of vast fertility for the purpose of conveying, with philosophical accuracy and effect ideas of different subjects into the mind, especially those of a scientific or philosophical nature. Like the commerce of the world that enriches our ports, and which is poured into them from every corner of the globe, each language of each age has helped to add to it by its contribution of some phrase or expression of importance, retained possibly on account of their peculiar value, and it has gleaned from each the choicest gems.

In its force, freedom, and philosophical accuracy, it reflects well the mind of the nation which has produced the most renowned philosophers and poets, whose productions have been peculiarly of this cast, and have been deeply imbued with this feeling;-who, moreover, have both largely influenced, and been largely influenced by, its character and adaptation.

Although we have not the advantage of the ancients in studying the naked form, and in viewing daily the folds of rich drapery; yet, as I have before observed, we have the higher capabilities of the art in expression, and character, and passion, still to exert; and we have also the full benefit of the experience of our predecessors, with far greater mechanical skill than they possessed. If some temples have been destroyed, the venerable age and hoary ruin of those that remain add immensely to their effect; while the grandest objects of all, those

of nature, in her mountains and seas, and rivers and plains, and the glories of the heavens, still continue unchanged.

One grand principle to be kept in view as regards modern art, is to adapt and accommodate it to the spirit and genius of the times, instead of following only the fashions of an age bygone. Poetry and music have done this, as have also costume and gardening. Why should not painting and sculpture and architecture do so too? In each age genius is the same; but nothing is so liable to fetter genius, as trying to force it to move in an element for which it is not fitted. Greek and Latin are still refining and ennobling, if used in the study of the great works of antiquity; but it would be absurd to apply them as media of communication in the ordinary affairs of business.

Probably each nation, and indeed each individual have their own particular capacity for excelling in certain branches of art; as one has a taste for beauty, another for grandeur, another for pathos or humour; and it is doubtless desirable to cultivate this peculiar talent, wherever it is developed. In the establishment of an English school of art, our main object should be to carry out to the utmost, and to afford the fullest development of the national genius, and with respect to each of the arts alike. Both those peculiar arts, and those peculiar departments of them, as also those peculiar tastes should especially be encouraged and cultivated, for which a particular national genius is exhibited. On the other hand, every opportunity ought to be availed of by means of a school of art, to correct those faults and deficiencies which appertain to the character of the nation. And in addition to this, every art that is cultivated among us should, by the aid of such an institution, be carried to the utmost perfection consistent with the nature and bent of the national genius and capacities, and with the existence also of the various national artistical deficiencies, which equally require to be taken into account.

The resuscitation of the art of using painted and stained glass, and the extent to which windows so formed are now introduced into churches and other public buildings, afford a very eligible and ample opportunity for the cultivation of the grand style of