either at the enthusiasm with which they were followed, or the success with which they were executed, defaced them, and ordered all such labours to be discontinued in future. For this conduct, it is difficult to find either an excuse or a parallel. But true genius, no power on earth can keep back-it will work its way to distinction through all the obstructions of folly or envy. It loves to expatiate in secrecy over its future plans-it contemplates its growing powers with silent joy, and prepares to come forth on the world, in the fulness of might and the freshness of beauty.

It is related at Sheffield, that during the intervals of ordinary labour, Mr Chantrey was not to be found amusing himself like other young menthat he retired to his lodgings, and light might be seen in his window at midnight-frequently far in the morning and there he might be found working at groupes and figures with unabated diligence and enthusiasm. Of these early efforts, little is visible -except the effect they wrought. It is said, that his mother took great interest and delight in his carly productions; and this venerable woman enjoys the unspeakable felicity of living to rejoice in her son's reputation.

He continued nearly three years in the employment of Ramsay, and the clandestine labours of his leisure hours began to obtain notice. Judicious counsellors seldom fall to the lot of early genius, and Mr Chantrey found friends who, in the warmth of misjudging zeal, wished to obtrude him on the world before his talents were matured, or his hand or his mind disciplined. Others, of more discernment, confirmed him in his natural and correct notions of art, and directed his enthusiasm. Among the latter, was Raphael Smith-himself a man of no common talents. He soon discovered that the young artist's powers to excel in art equalled his ambition-and he encouraged him to pursue the attainment of excellence; for in sculpture, as in poetry and painting, no one is charmed with mediocrity, though all are doomed to endure it."

Sculpture is a profession infinitely more laborious than painting, depending on shape and expression for its fascination-demanding an acquaintance not only with varied nature-but with curious and delicate mechanical operations, and with that rare talent

of combining the conceptions of genius with the niceties of acquired skill. The march therefore of the sculptor to distinction is a long one-and with much of this mechanical knowledge Mr Chantrey had to become acquainted when he went to London. He had also other obstacles to surmount-the artificial and unnatural style imported from Italy and France, and which had been supported by the ablest Sculptors of England.

Our sculpture, till lately, never sought to free itself from the absurdities and allegorical subtleties of the foreign school. Nature was working her own free way with art, and working successfully, till our literature, as well as our sculpture, was overwhelmed by a flood which accompanied Charles II. to his throne. Art then fell off from reflecting nature-began to speak an obscure language-full of dark conceits and remote personifications. The common figures of poetry or speech were exalted into monumental heroes and heroines, illustrated by symbols as unintelligible as themselves. Nor did allegory remain pure and unmixed-Death was made to extend his figurative dart at the substantial bosom of a lady, whose husband endeavoured to avert it with an arm of flesh. And the conceits of the sculptor were worse than his allegory-the Duke of Argyle expires on his monument, while the pen of Fame is writing him Duke of Greenwich—a title that awaited him,-turning the monument of a hero into the record of a contemptible conceit: and these are fa vourable specimens.

On a mind unschooled in the conceited pedantries of art, the impres sion must have been curious and bewildering. Art must not pretend to instruct nature-what is not of nature cannot be of art-nothing better can be found to be imitated, and those who wish to excel can only collect the members of beauty together which nature has scattered over creation. The true beau-ideal is only a speculation of man on the perfection of nature-its beauty must be tried by nature, and by her permission must it stand, or by her sentence it must fall. poetry, our philosophy, and our actions, reflect the might, and the bold and peculiar character of the people. Should the nation pass away, her works and her deeds will always com mand admiration and awe, and will

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tis said, "You hear this, young man, what say you are you a painter or a sculptor."-" I live by sculpture," was the reply, and the statue was immediately confided to his hands-a statue of equal ease and dignity will not readily be found.

He had made some progress in this work, when he was employed by Mr Johnes of Hafod, the accomplished translator of Froissart, to make a monument a very extensive one-in memory of his only daughter. This was a congenial task, and confided to his hands under circumstances honourable to English sculpture. It has long been finished, and is a production of beauty and tenderness-a scene of domestic sorrow exalted by meditation. Invention does not consist in investing abstract ideas with human form-in conferring substance on an empty shadeor in creating forms, unsanctioned by human belief, either written or traditional. Much genius has been squandered in attempting to create an elegant and intelligible race of allegorical beings, but for the want of human belief in their existence, the absence of flesh and blood, nothing can atone. No one ever sympathised with the grief of Britannia, or shared their feelings with that cold, cloudy, and obscure generation. Mr Chantrey's talents refuse all intercourse with this figurative and frozen race.

A statue of President Blair, a judge of singular capacity and penetration, and a statue of the late Lord Melville, were required for Edinburgh, and Mr Chantrey was employed to execute them. He has acquitted himself with great felicity. The calm, contemplative, and penetrating mind of Blair is visibly expressed in the marble. It must be difficult to work with a poet's eye in productions which the artist's own mind has not selected and consecrated. During his stay in Scotland, he modelled a bust of the eminent Playfair, in which he appears to have hit off the face and intellect of the man-and they were both remarkable ones-at one heat. Many artists obtain their likenesses by patient and frequent retouchings-Mr Chantrey generally seizes on the character in one hour's work. Once, and but once only, we saw a bust on which he had bestowed a single hour;-the likeness was roughed out of the clay with the happiest fidelity and vigour. We saw, too, the finished work-his hand had

passed over it in a more delicate manner-but the general resemblance was not rendered more perfect. His bust of the lady of a Scottish judge belongs to this period-Nature furnished him with a beautiful form, and his art reflects back Nature.

On his return from Scotland, he was employed by the goverment to execute monuments for St Pauls, in memory of Colonel Cadogan and General Bowes, and afterwards of General Gillespie. These subjects are embodied in a manner almost strictly historical, and may be said to form portions of British history. Though the walls of our churches are encumbered with monuments in memory of our warriors, no heroes were ever so unhappy. Sculptors have lavished their bad taste in the service of government. Fame, and valour, and wisdom, and Britannia, are the eternal vassals of monotonous art. A great evil in allegory is the limited and particular attributes of each figure-each possesses an unchangeable vocation, and this proscription hangs over them as a spell. The art, too, of humble talents is apt to evaporate in allegory-it is less difficult to exaggerate than be natural, and vast repose is obtained among the divinities of abstract ideas. Simple nature, in ungifted hands, looks degraded and mean; but a master-spirit works it up at once into tenderness and majesty.

Amid a wide increase of business, Mr Chantrey omitted no opportunity of improving his talents and his taste. In 1814, he visited Paris, when the Louvre was filled with the plundered sculptures of Italy, and admired, in common with all mankind, the grace, the beauty, and serene majesty of these wonderful works. Of the works of the French themselves, his praise was very limited. In the succeeding year he paid the Louvre another visit, during the stormy period of its occupation by the English and Prussians. He was accompanied by Mrs Chantrey, and his intimate friend, Stothard the painter. He returned by the way of Rouen, and filled his sketch-book with drawings of the pure and impressive Gothic architecture of that ancient city. It has been said that acquaintance with the divine works of Greece dispirits rather than encourages a young artist. Images of other men's perfections are present to his mindideas of unattainable excellence damp