Lie heavy on him, earth, for he
Laid many a heavy load on thee;
while the Earl of Burlington, in spite of Pope, did understand building. Gibbs, Kent, Hawksmore, left no successors; and during the reign of George II., English architecture was at its lowest. His late majesty is reported to have understood, and certainly had a taste for, the science; but his majesty was scarcely happy in the artist whom he patronized, Chambers, the architect of Somerset-house, and whose character may be thus summed up:—he introduced the Chinese style, and denied that the Parthenon ever existed, or that, if it did, it must have been a clumsy piece of business. It is unnecessary to pursue the subject. For the mixed Roman—the modern Gothic—and Oriental styles, which have since prevailed, we can find no place among the modes of art.
The most recent improvements in the British metropolis are in better taste than those immediately preceding; but in following the varied forms of buildings among the Romans, rather than the simpler outline of the Greeks, though no error has been committed, but perhaps the contrary, sufficient care has not been employed to place these varied masses advantageously, both as respects their own grandeur, and their decorative effect in street architecture.
A more promising aspect, also, of things, invites attention to the Northern capital. This singularly romantic and beautiful city, combining the associations of centuries with our admiration of the living age, and exhibiting in its buildings the rudest and the most refined exemplars, constitutes a feature in the history of our national architecture, and, among the cities of Europe, an isolated instance of undecided mastery between art and nature. The earlier of the new buildings of the Scottish metropolis, are, generally speaking, in the Palladian, or Roman style, with the exception of the college. Adams, in the last, has left a most splendid proof of genius. Viewed, as it ought to be, in itself, within the quadrangle, it fills the eye with a burst of splendid magnificence, equal to any effect we have ever experienced in modern building. Recent structures are in the true Grecian modes, transcripts from the Theseum and the Parthenon. We rejoice in this; it is the only source whence renewed vigor can be derived to our fallen art—for fallen it is at present among us; nor do we perceive, in the British empire, such decided marks, not of reviving, but of vigorous taste, as in the Scottish school of architecture. The National Monument on the Calton, emulates, in gigantic mass, the Athenian structures themselves; while in the new High School is presented a perfect gem of art—where the purest Greek modes are combined and adapted with the happiest originality. The laborious and useful investigations which have rendered our artists so well acquainted with even the minutest details of the Greek forms, cannot remain without fruit—provided architects will be true to the best interests of their profession. Let it ever be borne in mind, that, magnificent as are the specimens of Roman skill, we desert the parent source when for these we forsake the remains of Grecian genius and art.
On reviewing these pages, it scarcely appears, that incidents or principles of importance have been overlooked, without such notice as limits permitted. In treating of the Fine Arts, indeed, the subject of patronage may seem to demand more separate consideration than is bestowed in occasional remarks. Brief, however, as these are, they will be found to contain, on this question, the impartial decisions of history, which uniformly declares the only wise, wholesome, and inspiring patronage to consist in national sympathy and national regard for the objects, purposes, and professors of Art. Here the countenance and protection of government are necessarily included, as affording the most distinguished assurance of the existence of this feeling, and as giving direction to the national efforts. In Britain, the genius of our institutions, and the character of the people require, while they will add power to, the effects of this union. These institutions are more national—the opulence and intelligence of the subject, abler to strengthen the hands and to aid the designs of government, than in any other empire that ever existed. Our Fine Arts have hitherto been the only constituent of our national glory to which the cheering influence of this united sympathy has been denied.
THE END.
FOOTNOTES:
[A] Constable's Miscellany.
[B] The best of these confirm the former remarks on this accomplished artist.
[C] 'I desire, Mr Lely,' said Cromwell, when sitting to the artist, 'that you will paint my picture truly like me, and not flatter me at all; but remark all these roughnesses, pimples, warts, and everything as you see me; otherwise I will never pay you a farthing.'