BENJAMIN WEST.
BY LEIGH HUNT.
The two principal houses at which I visited, till the arrival of our relations from the West Indies, were Mr. West's (late President of the Royal Academy), in Newman-street, and Mr. Godfrey Thornton's (of the distinguished city family), in Austin-Friars. How I loved the Graces in one, and every thing in the other! Mr. West (who, as I have already mentioned, had married one of my relations) had bought his house, I believe, not long after he came to England; and he had added a gallery at the back of it, terminating in a couple of lofty rooms. The gallery was a continuation of the house-passage, and, together with one of those rooms and the parlor, formed three sides of a garden, very small but elegant, with a grass-plot in the middle, and busts upon stands under an arcade. The gallery, as you went up it, formed an angle at a little distance to the left, then another to the right and then took a longer stretch into the two rooms; and it was hung with the artist's sketches all the way. In a corner between the two angles was a study-door, with casts of Venus and Apollo, on each side of it. The two rooms contained the largest of his pictures; and in the farther one, after stepping softly down the gallery, as if reverencing the dumb life on the walls, you generally found the mild and quiet artist at his work; happy, for he thought himself immortal.
I need not enter into the merits of an artist who is so well known, and has been so often criticised. He was a man with regular, mild features; and, though of Quaker origin, had the look of what he was, a painter to a court. His appearance was so gentlemanly, that, the moment he changed his gown for a coat, he seemed to be full-dressed. The simplicity and self-possession of the young Quaker, not having time enough to grow stiff (for he went early to study at Rome), took up, I suppose, with more ease than most would have done, the urbanities of his new position. And what simplicity helped him to, favor would retain. Yet this man, so well bred, and so indisputably clever in his art (whatever might be the amount of his genius), had received so careless, or so homely an education when a boy, that he could hardly read. He pronounced also some of his words, in reading, with a puritanical barbarism, such as haive for have, as some people pronounce when they sing psalms. But this was perhaps an American custom. My mother, who both read and spoke remarkably well, would say haive, and shaul (for shall), when she sung her hymns. But it was not so well in reading lectures at the Academy. Mr. West would talk of his art all day long, painting all the while. On other subjects he was not so fluent; and on political and religious matters he tried hard to maintain the reserve common with those about a court. He succeeded ill in both. There were always strong suspicions of his leaning to his native side in politics; and daring Bonaparte's triumph, he could not contain his enthusiasm for the Republican chief, going even to Paris to pay him his homage, when First Consul. The admiration of high colors and powerful effects, natural to a painter, was too strong for him. How he managed this matter with the higher powers in England, I can not say. Probably he was the less heedful, inasmuch as he was not very carefully paid. I believe he did a great deal for George the Third with little profit. Mr. West certainly kept his love for Bonaparte no secret; and it was no wonder, for the latter expressed admiration of his pictures. The artist thought the conqueror's smile enchanting, and that he had the handsomest leg he had ever seen. He was present when the "Venus de Medicis" was talked of, the French having just taken possession of her. Bonaparte, Mr. West said, turned round to those about him, and said, with his eyes lit up, "She's coming!" as if he had been talking of a living person. I believe he retained for the emperor the love that he had had for the First Consul, a wedded love, "for better, for worse." However, I believe also that he retained it after the emperor's downfall; which is not what every painter did.
PEACE.
Peace has a dwelling near a river
Where the darkened waters quiver.
Where the ripple we can hear
Bursting on the pebbly shore,
Making music soft and clear
For evermore, for evermore.
Peace has a dwelling near a wood
Where the cooing pigeons brood,
Where the sweet-voiced nightingale
Unto the moon her song doth pour,
And songsters swell the echoing vale
For evermore, for evermore.
Peace has a dwelling in the soul
That can its hopes and fears control;
In silent wood or city's din
Alike it may be found to dwell;
Its dearest home is that within
The chastened heart's profoundest cell.
Peace has a dwelling where no more
The ear can hear the torrent roar,
Or lists the rippling of the river,
As softly it turns up its wave,
Where never more the moon-beams quiver
Within the silent grave.