illustrative evidence, of the necessity of some measure to prevent the misapplication of funds raised to alleviate the distresses of sickness, aggravated by poverty; and, if any institution in Ireland demands the especial care of government more than another, it is that which serves to create those sympathies that always exist, in a sound state of society, between the governors and the governed-the rich and the poor. Let it ever be remembered, for the sake of humanity and sound policy, that the interests of both are identical; for, to make a new application of the fable of Menenius Agrippa,it can never be well with the head or belly of the state, if the members are in a condition of paralysis or suffering.

ARTICLE IX.

Public Monuments in England.

1. Report of the Committee appointed to consider the subject of Public Competitions for Architectural Designs, laid before the General Meeting of the Royal Institute of British Architects. London: Weale. 1839.

2. A Letter addressed to Lord Viscount Melbourne, on the rebuilding of the Royal Exchange, by Thomas Hopper, Architect. London: Weale. 1839.

3. Plans for the National Encouragement of Historical Design.

We believe it may safely be said, that no country in the world has expended, within a given period, such vast sums of money in public monuments, both architectural and sculptural, as have been disbursed in England during the last fifty or sixty years; and, if the most extensive patronage, liberal remuneration, important uses as regards architecture, and ennobling objects and honourable destination for sculpture, sufficed to create a great school of design, this country must be allowed to have had those advantages supereminently over every other on the face of the globe. That some of the works that have been produced are honourable to the nation, as evidence of the talents of our artists, and place them on an equality with

their contemporaries in any other country, must be conceded; but, that the impulse given by such munificent employment has created what can be called a great school of design, must, with some mortification, be denied.

The subject is worth some consideration; for it is constantly urged by artists, that the sole cause of the decay, or rather the non-existence of high historical or classical school of design in this country, is attributable to want of patronage: so that the onus of not having Bramantes, Palladios, Michael Angelos and Raphaels, is laid, not on the artists themselves, but on those who ought, by patronizing art, to produce such luminaries. As in most cases, there may be, and doubtless is, some truth in this complaint of want of patronage; but it is not all the truth; and the error lies in a great measure, at least so it strikes us, in the somewhat overstrained power and influence that is attributed to patronage. Patronage, if it is considered to mean merely ordering and paying for works of art, though it may be a powerful exciting cause for the produce of quantity, is no more capable alone of improving the quality, or creating a school of design, than an extensive and well-paid order for any other less refined commodity would necessarily cause an improvement in its fabrique or manufacture. If it would, the fashionable sculptor of the South seas (specimens of whose taste and skill are occasionally seen and judged of in European countries, by the arrival of some terrific image of his idol god, with red feather face, and a large mouth, garnished with rows of white shells for teeth), might be expected, upon receiving an "order" for an extensive work, to approach something nearer nature and our notions of the beautiful; but, surrounded as he is by his own native "committee of taste," we much doubt, notwithstanding the patronage, whether anything of a higher character than that in conformity to his or their established canon, would be produced. It is the same in more enlightened and better instructed countries: unless the means of patronage be accompanied by the judgement so necessary to give value to patronage, the works of artists are never likely to rise much beyond mediocrity. A country may be visited by some genius of superior power, such as Flaxman's for instance, which, if it were comprehended, might direct public taste; but

where the soil is unprepared the seed never takes root; the yielding up of prejudices and old habits is not easy, and long before opportunity is given for the influence of such genius to be felt, and beneficially exercised, it departs; and though a few may struggle to advance principles which they have recognised as true, the multitude falls back upon its old accustomed opinions; and those who have the will, and perhaps the knowledge, to teach better things, must, if as artists they are obliged to live by their practice, succumb to the irresistible power which dictates the terms on which they are to gain their bread.

Patronage then, as far as it means ordering and paying for works of art, is not sufficient to cause the art to be of the best sort. The character of such productions will usually, and especially in a country like this, where living is so expensive, be that which receives the greatest pecuniary encouragement; and the greatest encouragement will be extended to that which those who have been elevated by themselves or others into arbiters of taste distinguish by their approval and "placet." For it is surprising how very few persons there are who, with all the good-will in the world towards art, will venture to purchase upon their own liking or judgement. It is most important then for the well-being and improvement of a school of design, that where this little knowledge and no confidence in the great masses exists, art should be watched and superintended; by which means, what is good might be fostered, and what is bad rejected; or, where there are no fixed principles of design acknowledged, they might be sought for and established by a tribunal capable and powerful to effect so desirable an object. Unfortunately this superintending influence has rarely been attempted by that class of persons who should be the movers in an undertaking of such responsibility: it has fallen into incompetent hands; and it has often been said, that art had better be left to itself, than be interfered with by the ignorant and incapable. We can understand the feeling which foresees danger from injudicious interference, and have ourselves heard some very zealous admirers of art, professional and unprofessional, wish for instance that Mr. Joseph Hume, and those who act under him, when he occupies himself about what he so little understands as the

fine arts, would let such matters alone. At first we felt disposed to concur in that prayer, but we have seen reasons to withdraw our humble protest against that gentleman's interference; not, Heaven knows, from any light having dawned upon us to make us think the opinions and deliberations on such subjects, of persons of the capacity of Mr. Joseph Hume, can help directly the cause of the fine arts; but we do believe that good has been effected indirectly by the mere fact of general attention having been thus called to them. We have no right or wish to attribute any but good motives to those who have chosen, so mistakingly, to encumber themselves with the office and duties of dictators and public guardians in matters of art. Doubtless they mean well, though they act awkwardly; but, while we give them all the credit and advantage we can afford,-by the admission that their meddling has produced inquiry, and caused a greater interest to be felt than had been exhibited, both in the practice of the arts and the management of their concerns,—we still utterly protest against their being legislated for, by those who only seem to estimate them in connexion with improvements in cotton-prints and patterns for furniture and crockery-ware; for it does not seem to enter into the minds of any of the professional gentlemen alluded to, to advocate the cause of art for its power of effecting moral good, its influence upon civilization, and its effects upon the social habits and condition of a community; but only, or chiefly, with the view of enabling our manufactures to compete with the more elegantly designed productions of foreign markets. By the same token, we have long relinquished all hope of seeing anything benefiaial for the higher departments of art effected by the government, when it cannot be proved in black and white that its encouragement will improve the balance-sheet of the year or quarter.

But the unsatisfactory condition of the more elevated class of design is not owing either to the inefficiency of Messrs. Hume, Ewart, and their admirers, or to the indifference of government. The greatest disposition may be felt to advance and improve art; but, if the knowledge and feeling necessary to give a right direction to taste are wanting, it seems hardly reasonable to expect that any good can result. In growing

timber, or in fattening cattle, standards can be formed, and judgements made, by the plain matter of fact of increase or decrease; but, though the perfect in art is said to depend upon the "poco più" or the " poco meno", it is not quite so easy to arrive at a right judgement on it, as it is to award, most justly, prizes for planting oaks, or for the greatest number of inches of fat in the loin or brisket; and it is in vain for the warmest well-wishers to art to occupy themselves about its improvement unless they will devote some small portion of their time to inform themselves upon the principles of taste in design, and ensure themselves a higher and purer standard of judgement than that arising out of the accidental likings and dislikings of the day.

There is a favourite maxim in this country, that public opinion is generally right in the end; and it is curious how soon people are led to bow to such a dictum, without taking the slightest trouble to examine its foundation. Correct however as the assertion-and the opinion too-may be in some matters, it does not hold good in all, and least of all in art. It would be both much more true, and much more fair to say, public opinion-upon all subjects that do not immediately and obviously affect the comfort, or add to, or take from, the creature-enjoyments and advantages of public aforesaid-is, for the most part, very indifferent and careless in the end. This is particularly the case when public opinion is looked to for judgement in matters of taste. A building, a picture, a statue is offered to public view, and is pronounced very good or very bad; but so little does the public in this country understand or interest itself in such subjects, that the falsest criticism, if appearing to come from an influential quarter, will raise to the skies or sink to the lowest deep any performance that may be brought before it, and then time (or "in the end") will render that very public as indifferent to it as, under the first impulse, it was excited. This is very natural; and it arises first from the simple fact that the public is utterly unable to form any just and consistent opinion upon subjects on which it has never been taught to think; and next, from there being no tribunal of sufficient weight or authority from which it can found or form a taste or judgement in such matters.