The conquests of Alexander, and all that followed in their train—the treasures of the East unfolded, mighty monarchies founded, stately cities built—afforded opportunities for the spread of this art. Thus it became transplanted into strange lands, and was subjected to new influence and aspirations. After the Macedonian and Syrian wars the victorious Romans carried off with them the statues and other art objects from the conquered countries. Following in the train of their conquerors came the Greek artists themselves to Rome, but the art never became naturalised there, it soon lost all its ideality and became merely imitative in treatment. Under Antoninus it lost much of its grace and elegance, but the spirit of the Greek is mighty even in dying, and though it sank under Severus and his successors, its influence was still apparent until close upon the time of Constantine, when the great art of the ancients was entirely lost.
Italian Sculpture.—Sculpture revived in Italy in the thirteenth century under Nicolo Pisano. All the remains of art which had escaped destruction from barbarian violence, religious fanaticism, and natural causes, were now carefully collected, and the sentiment of reverence and admiration for the antique gradually developed into that great revival which we designate “The Renaissance.” The wealthiest and most powerful Florentine families vied with each other in the encouragement of art in all its branches, and with the artists of the fifteenth and sixteenth centuries raised modern art to its loftiest pitch of splendour. Despite this fact it never attained the sublimity and tranquil grandeur of the antique. After the glorious epochs of Michael Angelo and Raphael a rapid decline set in. True feeling quickly disappeared, giving way to affected grace, extravagance, and excessive ornament. During the eighteenth century, Winckelmann was the first who influenced the revival of modern art, and opened the eyes of his contemporaries to the glories and elevated beauty of the arts of antiquity. Antonio Canova became the founder of the new period, his works being specially marked by pure simplicity and classical ideality, and by his side stands Thorwaldsen, whose artistic productions were as admirable as they were numerous.
English Sculpture.—In England John Banks, who may be regarded as the father of English ideal sculpture, paved the way for his great successor John Flaxman, and the latter with his deep appreciation of severe simplicity and true form, his love and admiration for the Greek statues, brought into this country the classical spirit, and founded the schools of the nineteenth century. To judge by the progress which modern sculpture has made, and by the many noble works erected of late years, it is on a far safer road than during the end of the sixteenth century. In England it is not likely that there will ever be such a great school of sculpture as of the sister art of painting. The greatest hope for ideal or poetic sculpture rests with the people themselves, who must be able to appreciate and love the beautiful, and this elevation of the taste of the public can only be accomplished by artists refusing to pander to a low ideal, but fearlessly and jealously devoting themselves to the execution of those works which will touch the tenderest feelings and arouse the noblest thoughts.
Local Sculpture.—Birmingham, though possessing a fair number of sculptural monuments, can boast unfortunately but of few which show real artistic merit. In the Entrance Hall of the Free Libraries, Ratcliff Place, stands Mr. Foley’s admirable statue of Prince Albert, which is considered to be one of his finest works. The Prince is attired in the robes of the Order of the Garter. By its side is placed the companion statue of her Majesty the Queen, which was also entrusted to Mr. Foley. That artist unfortunately dying, the work was carried out by Mr. Woolner, R.A., with far from a pleasing result. Both statues are intended for the Council House. The largest, and certainly one of the most prominent, monuments in Birmingham is the bronze statue erected by the inhabitants to the memory of Admiral Lord Nelson. It is situated in High Street, and was executed by Sir Richard Westmacott. It represents Nelson in a reposeful and dignified attitude, his left arm resting upon an anchor. The background is formed of the prow of a vessel and a sail. The statue is mounted on a pedestal of statuary marble, embellished with figures. The corner posts are said to be cannon formerly in use on board the “Victory.” An auctioneer, who lived in High Street, left sixpence per week to be paid in perpetuity, out of the rent of a house, to be devoted to the cleaning of the statue.
The bronze statue of Sir Robert Peel, at the top of New Street, is interesting as being the work of a talented Birmingham sculptor, Mr. Peter Hollins, and for the fact that it was the first bronze statue cast in one piece in Birmingham. The attitude of the Statesman is one of firmness; the face is very expressive, and shows strong intellectual power. Mr. Hollins likewise executed the statue erected to the memory of Sir Rowland Hill, which stands in the Post Office, Paradise Street. Of other works by this sculptor, I would draw attention to the busts of William Scholefield, Mathew Davenport Hill, Q.C., and David Cox, all of which are in the Museum and Art Gallery, and a fine bust of J. W. Whateley, in the General Hospital.
At the Five ways, Edgbaston, stands the statue erected to the memory of Joseph Sturge, an eminent member of the Society of Friends. The monument is pleasing in arrangement. The centre figure represents Joseph Sturge, his right hand resting on the Bible, his left extended towards a figure symbolical of Peace, whilst on the other side is a figure typical of Charity. This is reputed to be an excellent likeness of the philanthropist, and the expression is one of benevolence and tenderness. It is the work of the late John Thomas, a sculptor of some eminence, who unfortunately died before he could put the finishing touches to this memorial. Mr. Thomas was also the sculptor of the statue of Thomas Attwood “the father of Political Unions,” situated at the top of Stephenson Place. Thomas Attwood stands in the act of addressing a public meeting, the right hand outstretched, whilst his left grasps a scroll bearing the word “Reform.” In the Art Gallery is a fine bronze group of Boadicea and her daughters, also the work of Mr. John Thomas.
In front of the Council House stands the statue of Dr. Joseph Priestley, the discoverer of oxygen, who was driven from the town by a Birmingham mob, and whose property was destroyed in the riots of 1791. The statue, a very pleasing one, is the work of Mr. F. J. Williamson, of Esher, who is also the sculptor of the adjacent statue of Mr. J. Skirrow Wright, and by the same hand is a striking bust of Mr. Sam: Timmins, F.S.A., which stands in the Reference Library, and an equally admirable bust of the late Dr. Heslop, now in the Mason Science College. This artist also executed the latest addition to Birmingham Sculpture, the statue of Sir Josiah Mason, and was also entrusted with the statue of the late George Dawson, opposite the Art Gallery, which stands under a highly ornate canopy, designed by the late John Henry Chamberlain. This statue, which is supposed to be an excellent likeness of Mr. Dawson, was executed on account of the dissatisfaction caused by the first figure, the work of Mr. Woolner, R.A. The effigy by the latter sculptor is still most unfortunately permitted to remain in the vestibule of the Free Library.
At the back of the Town Hall, stands a Memorial Fountain, erected to commemorate the municipal services of the Right Hon. Joseph Chamberlain, M.P. In the south side is a medallion portrait of Mr. Chamberlain, by Mr. Thomas Woolner, R.A. The memorial, which is architecturally treated and richly decorated with Venetian mosaics, was designed by the late John Henry Chamberlain.
In Ratcliff Place stands undoubtedly the finest statue in the town, that of James Watt, by Alexander Munro. The calm dignity of the figure, the graceful pose of the same, the grand thoughtful face, and the very remarkable likeness of the great engineer, render it a work of the highest excellence. The original model of the head is in the Art Gallery.
The Art Gallery contains in addition to those already mentioned as located therein, the two original plaster models of Foley’s great statues of Burke and Goldsmith; an interesting copy of the Venus di Medici by Raphael Monti, and some very admirable specimens of early Italian and renaissance sculpture. In the Vestibule stands a very dignified and impressive bronze statue of Buddha of Indian make, and of the greatest antiquity; and also a very remarkable piece of Hindoo sculpture in black marble.